The Adamson Fletcher Machine Remote software offers an easy-to-use yet complete set of mixing functionalities, including EQ, compression, auxiliary sends, and much more. To learn more about the Adamson Fletcher Machine visit our website at www.adamsonsystems.com
Send on Fader for Speakers, Aux, Reverb and VCAs
Dedicated Page for Solo in Place
Custom Fader Page
Mixdown
Embedded 2D/3D Trajectory Generator
Single / Loop Modes
Trajectory recall
Hearing, seeing, feeling, connected. A new listening experience. Involvement with a most beautiful intensity. The interaction between artist and audience, more intimate than ever before. Enveloping sound reinforcement, succeeding so much more than right and left.
d&b Soundscape gives designers, engineers and artists the tools to create exceptional audience experiences.
dbsoundscape.com
Photo: Tanner VonnahmeI, unsplash
MONDO-DR 33.4
MAY / JUNE 2023
ON THE COVER Warner Theatre, Erie, PA. courtesy of Gibbens Creative.
EDITOR
Todd Staszko t.staszko@mondiale.co.uk
EDITORIAL ASSISTANT
Emma Hill e.hill@mondiale.co.uk
SENIOR ACCOUNT MANAGER
Laura Iles l.iles@mondiale.co.uk
ACCOUNT MANAGER
Cameron Crawford c.crawford@mondiale.co.uk
ACCOUNT EXECUTIVE
Michael Askew m.askew@mondiale.co.uk
MARKETING & EVENTS MANAGER
Alice Clarke a.clarke@mondiale.co.uk
DESIGN & PRODUCTION
Mel Capper, Dan Seaton
DIGITAL CONTENT MANAGER
James Robertson j.robertson@mondiale.co.uk
EDITORIAL DIRECTOR
Peter Iantorno p.iantorno@mondiale.co.uk
CEO Justin Gawne j.gawne@mondiale.co.uk
FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk
CREDIT CONTROL ar@mondiale.co.uk
GROUP CHAIRMAN Damian Walsh
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Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Media Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK
As we approach the half-way point of 2023 the expo season is really heating up, with many regional and international shows taking place around the world over the span of a few months. It’s an exciting time for the industry as connections are made and business is done. This is arguably the busiest period since the pandemic, and will likely be reflected by an increase in visitor numbers.
This issue’s cover story is the renovation of the historic Warner Theatre in Erie, PA, which now boasts an in-house sound system for the first time, one of many technological upgrades across the newly extended facility – read all about this outstanding project on page 68. Some news from MONDO-DR HQ, Emma Hill has recently joined the team as Editorial Assistant. Emma is excited to expand her experience in the industry and I’m sure you’ll get to meet her at some upcoming shows. In addition to this role, she also currently volunteers at the Royal Exchange Theatre in Manchester.
There have been some remarkable projects entered into this year’s MONDO-DR Awards and we hope you can join us for the ceremony on 14 June at Ole’ Red from 6pm in Orlando. It’s a chance to celebrate the creativity of our industry in a relaxed setting, meet up with friends old and new, and have a free drink on us – what’s not to like?
As ever, we welcome any and all feedback on the magazine, so don’t hesitate to get in touch.
Enjoy the issue.
TODD STASZKO EDITOR
Fotos: Aatu Heikkonen / Inspiroiva Creative
Moment Magnet
Customer: Helsinki Outlet
Lighting Design: Lighting Design
Collective, Jari Vuorinen
Technical implementation: Audico Systems Oy
mondo@mondiale.co.uk
www.mondodr.com
www.mondodrawards.com
MAY
MAY 10-11
PLASA LEEDS, UK www.plasaleeds.com
MAY 25-27
PALM EXPO MUMBAI, INDIA www.palmexpo.in
MAY 16-19
KOBA SEOUL, SOUTH KOREA www.kobashow.com/eng
MAY 25-27
AV-ICN EXPO MUMBAI, INDIA www.av-icn.in
MAY 16-18
CABSAT DUBAI, UAE www.cabsat.com
MAY 28-30
JULY
JUL 14-16
MEDIATECH JOHANNESBURG www.eventalways. com/mediatech-africa
SEPTEMBER
SLS EXPO RIYADH, SAUDI ARABIA www.saudilightandsoundexpo.com
MAY 16-18
INTEGRATE MIDDLE EAST DUBAI, UAE www.integrateme.com
MAY 22-25
JUNE
PROLIGHT + SOUND GUANGZHOU, CHINA www.prolight-sound-guangzhou.hk.messefrankfurt.com
MAY 24-26
INFOCOMM SOUTHEAST ASIA, BANGKOK https://infocomm-sea.com
MAY 24-26
INFOCOMM SOUTHEAST ASIA, BANGKOK https://infocomm-sea.com
JUN 25-27
MONDO-DR AWARDS ORLANDO www.mondodrawards.com
JUN 14-16
INFOCOMM ORLANDO www.infocommshow.org
JUN 26-28
PRO INTEGRATION FUTURE ASIA, SINGAPORE www.prointegrationfuture.asia
SEP 3-5
PLASA LONDON www.plasashow.com
SEP 15-18
IBC AMSTERDAM show.ibc.org
SEP 15-17
INFOCOMM MUMBAI www.infocomm-india.com
FOREVER Club in Wuhan, China’s biggest nightclub project, burst onto the city’s club scene late last year with a spectacular opening night, creating a new entertainment landmark for the Xintiandi business district.
Financed by entertainment giant Noah’s Ark Group, FOREVER Wuhan is a 5,000 sq m venue featuring a principal 2,000 capacity ‘House Style’ hall, a smaller room, and several private KTV rooms. Complementing its trussing structures and sophisticated lighting, the main hall contains the flagship KV2 VHD5 system, which was specified, designed, and installed by Guangzhou Idee International Sound System Co., Ltd. part of KV2’s Chinese distributor AVMedia.
A L/R system comprising one VHD5.0 Mid Hi module and one VHD8.10 Low Mid module per side, with two VHD2.0 Mid High Enclosures as front fills, was specified. For the private booths and VIP areas 16 ESD12 two-way full-range loudspeakers act as a fill system, while 50 ESD1.18 subwoofers provide powerful sub-bass reinforcement.
Power, processing and control is supplied by VHD5000, VHD5000S, and VHD2000 power units, while a pair of ESM312 act as DJ monitors. Audio for the smaller room, which has a capacity of 150, is provided by a pair of ESM312s, a pair of TIME12s and twelve ESD1.18 subs.
www.kv2audio.com
Located near Valencia’s shopping hub Calle Colón, the elegant new restaurant La Diva transforms into a nightclub in the evenings, and because of this the venue required a versatile audio solution that can be adapted for both environments, and subsequently a series of Lynx Pro Audio products was installed. To reinforce the background music in the entrance, bar area and bathrooms, a selection of QB-5 loudspeakers were selected. The small units feature with a 5-inch transducer, 90° conic dispersion and 110 dB SPL, and they were painted in different RAL colours to blend in with the decoration. The dancefloor is covered by a selection of HR-1596/7, HR-8 and BS-12 enclosures. The HR-15 and HR-8 units are set up surrounding the entire main room, finished in white and gold to match the interiors, and the BS-12 loudspeakers are used as sound reinforcement in the DJ booth.
www.lynxproaudio.com
For the major structural installations needed at this year’s Disfressa d’Or, held in the San Miguel Tarraco Arena in Tarragona, Spain, Moduspro used a selection of FENIX Stage products. The installation of stage, sound and lighting systems needed to be adaptable for the event as it hosted different acts, and so the Moduspro production, technical and engineering teams worked to create the staging for the event with all the necessary safety measures to fit the required scenography. FENIX products were used for lifting truss structures, LED screens and sound and lighting equipment, including a TR4-1200 12m ground support tower with a 1500kg load capacity. A stage of almost 200 sq m was built, and trusses of 29 by 29cm, 40 by 40cm and 52 by 52cm were used to supplement the elevation of LED screens.
“We are delighted to see our products used by operators of such professionalism,” said FENIX Stage CEO Julia Niza. “We care about our product and that is why we are very happy to see Moduspro work with our structures.”
www.fenixstage.com
Impressive enhancements made at venues for live performances around the world.
Contemporary multipurpose venue Gray in Modiin, Israel, is filled with colour and atmosphere thanks to a versatile Robe LED moving light rig installed to enhance this new and lively 900-capacity entertainment space that opened in 2021. Managed and run by the municipality, it is popular and successful in offering a wide range of live music and performance shows in a supper club format.
The lighting, LED screen, trussing – including two elegant circles above the audience – and rigging was supplied and installed by Danor Theatre & Studio Systems, working in conjunction with consultant Dror Herrenson, who assessed the requirements and compiled a tender based on a robust, practical, and flexible LED lighting system to cover a multiplicity of events.
Several companies bid on the tender, which was won by Danor with their specification of 12 Robe VIVA CMYs and 12 LEDWash 600 moving lights.
The LEDWash is one of Robe’s bestselling wash luminaires of the last decade, while the newer VIVA CMY is powerful, smooth, and combines brightness with a clear zero-fringing white beam, together with continuous colour transitions via the CMY mixing system.
The LEDWashes are positioned on the front truss for a rich and full stage wash, and the VIVAs are the main over-stage fixture, rigged on three raked trusses, which enhances the depth of the performance space. Both fixture types were also chosen for their small size and because they worked well with the 6 by 3 metre upstage LED screen.
Once installed, the lighting rig was slightly redesigned by Ziv Limor to optimise the venue’s character and space, changing up the trussing angles and modifying the shape
of the side trusses. Danor’s Erez Hadar said: “This is a great-looking installation as well as a really practical and value-added moving light solution that provides excellent rider-friendly production values.”
Gray Modiin’s lighting has been appreciated by many visiting artists and lighting people including Meir Hayon, operating lights for Israel’s own most famous puppet rockers, Red Band, who were playing at the time of the Robe reporting team’s visit to the venue.
Red Band was additionally touring at this time with a floor package comprising four Robe MegaPointes from rental company Kilim.
Meir particularly liked the LEDWash 600s. He reckoned they are “the best fixtures in the venue for sure!”, also saying that Gray is one of the “premier” venues in the country for lighting in his opinion, with decent headroom and a good lighting rig making it an ideal modern concert venue. He also appreciated the side lighting positions onstage. Angles, accurate shuttering, and detail is critical for lighting any Red Band performance due to its three puppet stars –Red, Poncho, and Lefty.
Their show features some special (puppet) guests, a selection of favourite rock anthems, and is renowned for its raunchy and irreverent song content and banter which is hilarious. The puppet operators remain concealed throughout.
Meir has worked with Red Band for around nine months and enjoyed using the four MegaPointe specials: “They are an amazing fixture – they do everything I want,” he enthused.
www.robe.cz
Located in the heart of Reykjavík, Harpa is a multi venue, multipurpose facility, home to the Iceland Symphony Orchestra, Icelandic Opera, and Reykjavík Big Band. It has won numerous awards for architecture and its role as a concert hall and conference centre since it opened in 2011. The venue is as much a work of art as a technological landmark, featuring communications powered by Clear-Com and state-of-the-art acoustic technology utilised in performances ranging from world-famous bands and soloists to dance groups and theatre companies.
Harpa features four primary performance venues ranging in capacity from approximately 200 to 1,800 people (a symphonic concert hall, recital hall, dividable black box conference hall, and a small theatre) and numerous smaller multi use spaces. The sprawling complex was initially equipped with a Clear-Com Encore Analog Partyline (PL) system and Eclipse HX Matrix system, which has since been augmented with V-Series Iris Keypanels, FreeSpeak II Wireless intercom, E-IPA IP capabilities, and the Agent-IC Mobile App. The recent integration between Clear-Com’s intercom and QSC’s Q-SYS amplifier platform, however, has provided a substantially higher level of functionality and integration between the venue’s paging, intercom, and house audio systems.
During the COVID-19 pandemic, Harpa began shifting its infrastructure to Dante interfaces to address the increasing demand for virtual and streamed events, for which their Clear-Com intercom system and ability to integrate it closely with platforms like Zoom were critical. But their ultimate goal was to tighten integration between paging and intercom systems to allow immediate and easy access, selection, and playback of pre-recorded announcements, music, and other assets (including safety/security messages) in each of, or any combination of, Harpa’s approximately 33 to 36 paging zones. When Harpa staff began considering this project, they were initially uncertain of the best way forward, explained Andri Guðmundsson, Harpa’s Technical Director –Events and Technical Management. So, they began by working with ClearCom and discussed ways to create an advanced programming system to interface between Clear-Com and Q-SYS, and include Dante connectivity. For example, Guðmundsson wanted the stage manager to be able to run paging messages and announcements straight from the intercom panels. The upgrade project also addressed some issues dating back to the venue’s in-house paging systems owing to an early decision to merge Harpa’s evacuation and announcement systems, as well as intermittent
problems with the pre-existing AMX management in some rooms and the previous analogue messaging system. “That’s why we needed a solution,” Guðmundsson stated.
The effort involved replacing Harpa’s paging system and reusing some existing infrastructure, including its original Clear-Com Eclipse and Encore systems. They upgraded to FreeSpeak II and added E-IPA cards for remote connectivity to broadcasters, additional Agent-IC licences for future use by ushers and other FOH staff, and E-DANTE cards to interface between the Clear-Com matrix and Harpa’s new QSC Q-SYS distribution system.
The result is “a huge degree of flexibility and programmability,” Guðmundsson said. “It’s the flexibility to route almost anything, anywhere, without having to make any physical interconnections. So, even though the integration is rather complicated, the end user gets a simple interface.” Harpa is still working on the full implementation of Agent-IC for its ushers’ use, but that’s something the young people in that role are looking forward to. “They don’t want to use bulky radios,” Guðmundsson laughed. “They want an app.” Moreover, the ability to use smartphones and Wi-Fi eliminates the need for additional infrastructure and components.
Refreshing technology after a decade-plus of operation is standard for PACs. What sets the project apart is the development and implementation of a custom-made plug-in by Clear-Com’s local distributor and integrator on the project, Atendi ehf. The plug-in allows Eclipse to route audio in Q-SYS, trigger pre-recorded messages and provide feedback for paging status via an Iris panel or FreeSpeak beltpack. The depth of the integration is powerful, offering up granular control of individual or combinations of paging zones (including shared backstage areas), streamlining and providing new workflow options, and increasing communication between those working the show and, if required, the audience themselves. In effect, it provides far more than a usual paging system in terms of overall and individual control throughout the facility. Ultimately, this level of integration and connectivity, particularly between Clear-Com and Q-SYS, has benefits in a wide range of applications. The versatility and scalability is crucial given the pace of technological advancement and innovation, growing audience expectations, and the evolving needs of artists and incoming events. www.clearcom.com
COMPANY: L-Acoustics
LOCATION: New York, USA
The music club business is a never-ending battle, and New York City has always been on the front line. From the Copacabana and Cotton Club to CBGB’s and Max’s Kansas City, New York set the tone for the business nationally and globally. The Bowery Presents took its name from perhaps the toughest street in New York history. Its club brands in the city include venerable Webster Hall, Brooklyn Steel—named one of the 10 best live music venues in America by Rolling Stone—and Terminal 5 in the trendy Hell’s Kitchen area.
What all these venues have in common is exceptionally high-fidelity sound, thanks to a variety of L-Acoustics loudspeakers in use at each site. Now, a bit of sonic DNA from each of these spaces has been injected into the newest member of The Bowery Presents “club,” Racket NYC, which opened on 7 January in the Chelsea space once occupied by Highline Ballroom. There, a combination of new gear and repurposed L-Acoustics kit from those other four venues came together to let the 650-capacity Racket continue one of The Bowery Presents’ core missions: keeping small clubs open and economically viable so that new artists have a place to develop and build fan bases.
“The economics of small clubs can be pretty uncertain,” said Scott Raved, Director of Operations at The Bowery Presents. “It’s important for us to grow bands, and we value the smaller venues and their natural intimacy as necessary to accomplish that. We want to give every artist and every venue the best sound possible, so we’ve chosen L-Acoustics for our clubs. Pulling some L-Acoustics elements from various venues allowed us to create a cost-effective sound system for Racket NYC that very much continues The Bowery Presents’ tradition of presenting great sound in every space.”
The Bowery Presents Assistant Sound Designer Alex Kehr worked with the company’s Head Sound Engineer, Lorne Grabe, L-Acoustics’ East Coast Application Engineer, Chris ‘Sully’ Sullivan, and Mark Friedman, Managing Partner of See Factor, The Bowery Presents’ longtime integration partner. They created the perfect fit using some new L-Acoustics products in addition to existing and available components from within The Bowery Presents ecosystem, going as far as its Roadrunner club in Boston to get the right elements.
“The audio design at Racket was based around already existing equipment within the other The Bowery Presents venues that either needed repair or were not being utilised, so this was only a once-ina-lifetime chance,” Kehr explained. “Lorne and I, as the designers of Webster Hall, Brooklyn Steel, Terminal 5, and Roadrunner, knew we had enough of a system within those four venues to create something far better than the former Highline Ballroom has ever had. This allowed us to keep it all within the L-Acoustics family, giving us the same sonic signature you hear at every other venue.”
Installed in December 2022, Racket’s main PA comprises four A15i flown per side, complemented by four legacy 12XT, two 8XT, and two ARCS WiFo hung as various fills and balcony delays, plus three compact 5XT providing fill at house-right. Four SB28 ground subs are spread out under the lip of the stage, while eight 115XT HiQ wedges on the deck, driven by five LA4X amplified controllers, provide monitoring. A combination of one LA12X, one LA2Xi, and four LA4X drive the house system, which is processed via a P1 Milan AVB audio processor sourced
through See Factor. “Racket becomes the first The Bowery Presents venue in NYC to feature the P1 and to use AVB, which makes a massive difference in audio quality and fidelity,” said Kehr. “It’s also the only Bowery venue in the city utilising L-Acoustics 5XT as under-balcony fills.” Raved claimed that even though some of the L-Acoustics components were of various vintages, they all integrated seamlessly together and were able to address any specific issue in the new venue. “For instance, I especially love the three five-inch 5XT boxes we installed to cover a blind spot we discovered at the house-right platform,” he said, also crediting L-Acoustics customer service as particularly helpful on this project and others. “We get better customer service from L-Acoustics than any other manufacturer and Sully was right there with Mark from See Factor to tune the system as soon as it was put in. Those working relationships are the most important of all.”
Outfitting Racket NYC’s sound was far from typical, but it underscored The Bowery Presents’ dedication to assuring the best sound at all its venues, particularly the smallest, where the economics can be the most precarious. “As usual, we did it our way,” Raved laughed. “It’s difficult to budget for rooms this small in this environment and in this city, but we weren’t going to compromise on sound quality in any of our venues, including Racket, which sounds every bit as good as any of them.” www.l-acoustics.com
V600:4 is the first member of our new commercial power amplifier line. The four-channel amplifier with a total power of 600 watts is recommended for background music and announcements in small to mid-sized commercial installations. It is the perfect choice for everyone who is looking for an eco-friendly, robust and versatile amplifier that is quick to install and runs trouble-free. Dynacord’s latest amplifier technologies such as powerTANK and dualCOOL ensure flexible power usage and uninterrupted operation – even under demanding conditions.
Sophisticated protection circuitry, dualCOOL technology and
Ultra-low power consumption by ecoRAIL and APD technologies
The building that houses Oasis in San Francisco has a rich history. From bathhouse complete with swimming pool and retractable roof to its current incarnation as a nightclub offering superstar drag shows and cabaret performances, Oasis has been a staple of the city’s LGBTQ nightlife scene since the late 1970s.
In 2014, the venue was taken over by actor, writer, musician, director and producer, D’Arcy Drollinger and three partners, including drag legend, Heklina, and began a new era of entertainment that continues to go from strength to strength.
The club operates in two different modes. A variety of cabaret entertainment including music, theatre, comedy, storytelling and burlesque take place during the evening before the venue transforms into a full night club setup, hosting night-long parties which often feature additional live performances.
When Oasis was forced to close during the pandemic, it took the opportunity to refurbish the Champagne Lounge, one of the club’s ancillary spaces, before planning to return with an ambitious production of The Rocky Horror Show. To support what would be an immersive event staged in multiple spaces across the venue, Drollinger took the decision to bring a high-quality audio system into the Lounge for the show’s run, with a view to a permanent install in the future.
Drollinger consulted with CODA Audio USA’s Sarah Phykitt, a long-time associate and former production manager at Oasis. Phykitt and CODA Audio Technical Director Michael Creason were given a simple brief by the club owner – “Make it sound fabulous!”
The CODA team set about designing a system that could meet the specific requirements of The Rocky Horror Show production, as well as the wider demands of the club. Spoken word events and high-energy music reinforcement both play an important part at Oasis, so the solution needed to combine exceptional clarity with substantial power. The team chose the versatile two-way G512-Pro for the mains, complemented by two compact G15-Sub extensions positioned under the stage. Two HOPS8 were deployed as stage foldback. Consistent coverage was achieved across the room, while energy was kept away from the bar to enable drinks orders to be made effectively. Given that performers are always in front of mains or monitors, the system needed to be very feedback resistant as well as having powerful sub-bass for the ‘club’ elements of the venue.
“Nightclubs are always a little tricky,” Phykitt commented. “Being sure that the loudspeakers are positioned for optimal coverage while keeping them out of reach of enthusiastic patrons is a must. In this case, being able to tuck the subs under the stage worked well for providing some protection – the compact nature of the G15 subs enabled us to achieve this in a very limited space. We also chose to hang the stage fills on offstage columns rather than at the lip of the stage, keeping them safely away from spilt drinks, while still being present for vocalists. Those HOPS8 sometimes have some very hot microphones only inches away without any danger of feedback!”
Audience reaction to The Rocky Horror Show was universally positive, with the immersive nature of the show proving to be a great hit with customers. Every show was a sellout, with extra performances added due to overwhelming demand. Once completed, Drollinger and his team had a decision to take about whether to purchase the system as a permanent install for the Champagne Lounge, or revert to the space’s old system. Having heard the system in action during the shows,
ultimately, there was no going back, and following positive discussions with CODA’s local supplier Some More Sound, Oasis bought the system.
“Our CODA sound system has completely transformed our ancillary space at the club for the better in ways that I had not anticipated,” Drollinger reflected. “The impressive quality of the sound has made a huge difference, not only for our performers and DJs, but for our audience as well. It has revolutionised what had essentially been a passthrough into a performance space in its own right.”
Sophia Craven, the club’s Production Manager was equally impressed: “We have noticed several advantages having the CODA system installed – ease of use, reliability, and high gain-before-feedback have made load-ins and sound-checks much more efficient, freeing up staff to really finesse everything, rather than setups going to the wire just before doors opening. The improved sound quality has resulted in patrons staying longer, purchasing more drinks – creating more revenue for the club –and overall having a more positive experience.”
Phykitt was pleased with the performance of the system, citing even coverage and great clarity from front to back: “The nature of the Rocky Horror performances was always going to be an excellent test for the system and its feedback-resistance qualities. It passed with flying colours, and I’ve no doubt that the success of those shows was instrumental in convincing the Oasis decision-makers that it would prove to be a real asset for future productions, as well as the day-to-day staples at the club. The G512s provide great clarity for vocals while the G15s have enough power to get the party going when it’s time to dance!”
www.codaaudio.com
COMPANY: MA Lighting
LOCATION: Melbourne, Australia
A new grandMA3 full-size console, a grandMA3 compact XT, and a grandMA3 onPC command wing have been delivered and are in action at the 2,466-capacity Hamer Hall, the largest indoor venue at the Arts Centre Melbourne complex, which has a busy schedule of orchestral and contemporary music performances and other events. All three consoles were delivered by MA Lighting’s Australian distributor Show Technology, replacing Hamer Hall’s previous lighting control system.
Arts Centre Melbourne’s Head of Lighting Peter Darby said MA devices were the most requested lighting control options by incoming productions. “We thought it was the right tool for the job and the best choice for the venue,’’ he stated.
Once the team had decided on grandMA3 hardware, the next conversation was about the running mode. With the proven power and flexibility of Phasers as the system backbone, it was agreed that a full grandMA3 package (hardware and software) was the way to go to control its approximately 150 fixtures, a mix of moving lights, conventional and LEDs. “The Phasers are such a straightforward way to create very complex effects that have not been possible with previous versions of grandMA,” added Darby.
Hamer Hall’s new lighting supervisor, Jake Kirby, said the dual encoders and other features reduce button presses and ultimately save time. Kirby lights around 80% of the shows in Hamer Hall, the other 20 will have their own LD. “Often we will have an afternoon sound check which will be the only ‘rehearsal’, and from then we go straight into a show that evening never having seen the full performance before, so we have to be prepared for anything,” he claimed.
Hamer Hall is the home to the flagship Melbourne Symphony Orchestra, who has its own grandMA3 showfile. Kirby and all the other operators have their own user profiles for maximum adaptability and the console’s multi-user functionality has also been helpful for some shows.
The venue has a lively mix of shows and events most days of the week from school graduations, jazz and orchestral concerts, and a range of other music genres.
Peter Darby said every day is different with new challenges and ways to be creative. “Each show must look different, and the grandMA3 system with all the components really assists in achieving this,” added Darby who also like the console’s ‘letterbox’ screen, the light path beneath each encoder, and the soft touch keys which are “a big departure” from the grandMA2.
Kirby said he liked the tacticity and responsiveness of the faders and being able to import Vectorworks 3D files via MVR directly for basic previsualisation. “It was designed with both the technicalities of programming and the essence of being creative in mind.’’ Another Arts Centre Melbourne venue, the outdoor Sidney Myer Music Bowl, also has grandMA3 for lighting control. www.malighting.com
COMPANY: Alcons Audio
LOCATION: Ried, Austria
KiK Kunst im Keller (art in the cellar) is an important cultural centre in the Upper Austrian town of Ried. The managing association by the same name has earned an excellent reputation throughout the country with decades of dedicated cultural work. In addition to music, literature, theatre, andKiK cabaret events, KiK hosts several exhibitions of fine artists each year.
As part of comprehensive renovation and modernisation, the sound system received an upgrade with Alcons Audio. As KiK’s programme is extremely diverse, a powerful, flexible, and reliable sound system was required, with Viennese company Pro Performance once again selecting Alcons Audio.
Two of each Alcons VR12 and VR5 were installed, with a Sentinel10 Amplified Loudspeaker Controller to drive the system.
“KiK needed a sound system that can accommodate a wide range of applications,” explained Wolfgang Sauter, owner of Pro Performance. “After all, the spectrum ranges from spoken word and cabaret to live musical performances covering anything from hard rock to EDM to folk music. Optimising the listening experience of the musicians and artists was just as important to the venue’s management as it was to enhance the audience’s perception. Since the room is not particularly large, they also requested a compact system.
“Besides all this, Alcons is known for its reliable and durable
products in Austria,” Sauter continued. “This was exactly what the cultural association at KiK wanted; great sound from smoothly running loudspeakers of high quality. Alcons V-Series systems met the specifications precisely and were therefore both our and the customer’s first choice.”
The chairman of the KiK association, Florian Bauböck, added: “Since the renovation two years ago, we have had the opportunity to try out different types of events and formats. We would particularly like to target a younger audience. The reason we opted for the Alcons systems was not only the sound quality. Rather, the complete package appealed to me right from the start.
“Even the finest system doesn’t work without appropriate acoustics. By working closely with Pro Performance, we integrated acoustic measures directly into the new design of KiK,” he continued.
“Instead of being a compromise, the result was a holistic, individual solution that will henceforth help define the identity of KiK. So far, we’ve been able to convince both the audience and the musicians that we are an ideal platform for a variety of cultural events.”
“Alcons offers highest level resolution, clarity, and dynamics,” concluded Sauter. “With a comprehensive acoustic solution, we were able to impressively highlight these qualities and open up new future prospects for KiK.”
www.alconsaudio.com
COMPANY: Allen & Heath
LOCATION: Chicago, USA
The historic Metro club in Chicago recently celebrated its 40th anniversary, and the venue simultaneously underwent a major audio upgrade.
“In 2021, we had changed everything about the PA – except the audio consoles,” recalled installer John Wagner of Ayre Productions.
The staff at the club eventually told Wagner that they wanted to explore changing the FOH and monitor consoles as well. “They enquired about Allen & Heath’s dLive platform, so we set them up with a demo.”
Local sales representative Shawn McLoughlin soon brought in two dLive S5000 surfaces for the team to try out, and it was a perfect match. “dLive was leaps and bounds better than what they were using previously,” noted Wagner. “They really liked the sound and the workflow.”
“We’re a small venue that hosts a lot of big acts,” explained Ben Gordon, the venue’s Monitor Engineer. “So, we’re always trying to minimise our footprint without sacrificing functionality. dLive hit all the marks for us.”
Justin Yates, who runs FOH, appreciated the platform’s flexibility and ease of use. “We get a lot of guest engineers – some of whom aren’t familiar with digital consoles. With dLive, it’s easy to get them up to speed and mixing a show in a couple of minutes.”
The team eventually decided to purchase two dual-screen dLive C3500 surfaces, along with a pair of CDM48 MixRacks. “Guest engineers are really excited to see the dLive consoles,” said Yates. “Even the folks who bring in their own console are curious and want to play around with a dLive.”
The FOH and monitor dLive systems are each equipped with AES output cards, which allow them to feed the venue’s amplifiers using digital AES/EBU signals. “That’s been a long goal of ours – to be digital as much as possible,” noted Gordon.
Both Gordon and Yates were impressed by the dLive’s full gamut of DEEP processing and compressor emulators. “I really like the Hypabass sub-harmonic synthesiser,” noted Yates. “I’ve been experimenting with that plugin to add thickness to my tom channels. I also like the sound of the different reverbs on dLive,” he added. Yates specifically likes the Mighty compressor, which is inspired by a classic transistor array VCA dynamics processor. “That one is so sick,” he noted.
“It’s the first time on a digital desk that the compressors sound different,” remarked Gordon. “On other digital consoles, you can switch through compressors without really being able to tell the difference. With dLive compressor models, you can hear the different characteristics. It’s been fun using them to blend sources into the mix.” For monitors, Gordon also likes using the dLive’s Source Expander. “It helps to clean up vocals for in-ear mixes. If you get the sidechain settings just right, you can eliminate a lot of noise bleeding into the lead vocal mic without missing a lot of articulation.” Following a lull during the COVID pandemic, Metro has re-emerged as an A-list venue with an intimate feel – recently hosting big-name artists like Metallica, Green Day, and Fallout Boy. “FOH is about 30ft from the stage,” noted Yates. “It feels like you’re right up there with the acts. I think that’s what makes it such a unique experience at Metro.” www.allen-heath.com
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The dynamic and busy hub for visual and performing arts in Cairns – Tanks Arts Centre – has been created from three giant, concrete tanks originally built in wartime to store fuel for the Royal Australian Navy. Of the three main structures remaining, Tank 5 has been converted into one of Australia’s most unusual performance spaces. Inside its 8m-high, 1m-thick circular wall is a fully equipped performance stage, a tiered audience area for up to 650 people, and a licensed bar. Though the roof is new, it is still held aloft by a veritable forest of oil-stained original timber poles which are heritage listed, as is the entire site.
Established and run by the Cairns Regional Council, Tanks hosts a wide variety of artists, but recognising that the existing PA in Tank 5 had multiple shortcomings, the council issued a tender for an upgrade of the FOH speaker system and console. The circular concrete walls provide just one of the acoustic challenges for this unique venue. The relatively lightweight roof structure meant that sound leakage to adjacent residential areas also needed to be addressed. That made pattern control – whilst providing even coverage of the entire audience area – a priority for the loudspeaker upgrade. The other key requirement was to deliver a rider-friendly, no-compromise PA system that would attract top-
flight national and international acts to come to the venue, without having to truck in production.
Having had previous experience installing a d&b audiotechnik system in the Cairns Performing Arts Centre, local Integrator AVLX, working with Graeme Hicks of Entertainment Production Supplies, proposed a solution based around d&b audiotechnik Vi series components. The winning tender, designed with input from NAS Solutions engineer Doug Pringle, comprised left and right hangs of Vi8 and Vi12 line array loudspeakers, with a pair of flown Vi-SUB cardioid subwoofers on each side plus a V10P centre fill and V7P left and right out fills. Four d&b B22 subs were mounted under the stage, along with six of the 8S coaxial point source speakers providing front-of-stage fill. Processing and system power was provided by nine of the four-channel d&b 40D amplifiers. Knowing the venue constraints, and with advice from d&b audiotechnik distributor NAS Solutions, the team proposed the crucial addition of d&b ArrayProcessing to the specification. ArrayProcessing software calculates and applies a series of FIR and IIR filters to each individual cabinet in the array to control the behaviour of a d&b line array system across the entire listening area. It is especially useful in difficult and reverberant spaces
“The design was done with d&b’s proprietary tool, ArrayCalc,” noted Pringle, who also commissioned the system. “We first plot where listeners are and how to cover them; then put in the walls and see how much spill the design is getting. If you can minimise the spill onto surrounding surfaces and maximise the coverage of the audience, you’ve won the acoustics war. d&b line arrays in that environment are good at not overshooting. The flown subs are cardioid, so they shoot into the room and not into the backstage area to excite the acoustics around there. Then ArrayProcessing on top improves that one step further.”
The outcome after commissioning has more than met the exacting tender specifications and garnered praise from all, including touring acts, who love the atmosphere generated in the performance environment.
Post-commissioning, Pringle was satisfied that including d&b
ArrayProcessing was the right move for the unique construction of the tank.
“It keeps excitation of the room down and tonality consistent through the room,” he observed. “You can be in front of the PA with a microphone and no frequency is going to jump out, so level before feedback is improved. It’s a good clean system, and it’s not just a beast for the heavy acts. It performs consistently at all volumes.”
“The difference between turning the ArrayProcessing on and off is just unbelievable,” agreed Hicks. “The whole thing is so tight now at the bottom. Speech is incredible. Acoustic guitars are just crisp and transparent.” Having listened in on a recent sound check, Hicks also pointed to the benefits of the d&b system’s midrange clarity. “A lot of PAs aren’t kind to female vocals,” he noted. “There is a crossover point between the mids and the horns that in other systems is often not reproduced well, but in there it was just so smooth.”
Pringle stated the investment will unquestionably achieve the ‘rider friendly’ goals for the upgrade. “For Tanks Arts Centre, it’s definitely an investment in the quality of the shows they want to have,” he concluded. www.dbaudio.com
Situated in northeast Ohio, MGM Northfield Park has become the first venue in the United States to permanently install GLP’s impression X5 washlight.
All 30 of the fixtures are featured in the complex’s 1,820-seat theatre known as Center Stage – 12 in the upstage area, 10 midstage and eight downstage ¬¬– having been supplied by national retailer GC Pro. Center Stage has presented globally famous acts over the years, including Dolly Parton, Steven Tyler, Tom Segura, Diana Ross, Morgan Wallen, BB King, Ringo Starr, Tom Jones, and many more. According to MGM Northfield Park’s director of entertainment and venue operations, Alex Trusnik, the latest spend has been dedicated entirely to the lighting upgrade, which replaced a rig that has been operating since the property opened back in 2013.
“The investment is clear evidence of MGM Resorts International’s commitment to entertainment in Northfield and the growth of Center Stage,” Trusnik commented.
“During the process I met with our production manager, Austin Brown, and lighting designer, John Middleton weekly to discuss what options would take Center Stage to the next level.
“John brought a dream to the table and through collaboration we were able to build an impressive lighting package for the room. My goal was to ensure we continue to deliver the best experience possible for not only our guests but also the acts we bring in and their touring crews – night in and night out.”
Middleton – one of three in-house techs at MGM Northfield Park (alongside Jeff Rambaud and Ben Ubienski) – carried out extensive research when searching for a supercharged washlight. “He was extremely impressed with some of the impression X5’s unique features,” Trusnik reported. “The networking capabilities and the speed of the fixture, especially the extensive zoom, is what really caught John’s eye and why he brought the option to our meetings. Our infrastructure is built around an ACN network, so those capabilities were a huge selling point for us.”
Other features of GLP’s trademark baseless, compact fixture design include the 19 powerful 40 W RGBL LEDs, which provide enormous output, and the expanded colour gamut and high colour rendering, with Tungsten Simulation and Magenta/Green-Shift options, along with individual pixel control and built-in pattern macros.
“Between these impressive specs, coupled with GLP’s long-standing reputation in the industry, and having the opportunity to pioneer this new technology, the decision to go with the X5s seemed very clear,” Trusnik summarised.
“The X5s certainly pack a punch. They’re extremely unique fixtures that always grab the attention of both touring LDs and our guests. We’ve had nothing but great feedback since installing them, and are extremely proud to have the first X5s here at MGM Northfield Park.” www.glp.de
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IT.
Partner: Zhongqing Yingye Group
COMPANY: Elation
LOCATION: Salt Lake City, USA
The Florence J. Gillmor Hall at Westminster College, a private liberal arts school in Salt Lake City, is a modern facility equipped with state-ofthe-art instruction, rehearsal, and performance spaces for the school’s music, dance, and theatre programs.
Elation lighting has been integrated into the hall’s dance studio and performance space, a package that includes Fuze Profile, Rayzor 760 and Seven Batten 14 luminaires, along with the first U.S. installation of the company’s innovative KL Profile FC ellipsoidal fixture.
Florence J. Gillmor Hall is a 26,000 sq ft expansion of the college’s Jewett Center for the Performing Arts and the Emma Eccles Jones Conservatory. Besides the Beverley Taylor Sorensen and Joan Taylor Fenton Performance Studio, the recent expansion added practice rooms, a theatre rehearsal space, a choir rehearsal room, and a 93-seat recital hall.
The performance studio, which can seat approximately 120 audience members, offers an intimate atmosphere suitable for showcasing various types performances. Spencer Brown, who has been affiliated with the school since 1998, has served as a full-time technical director for the past 13 years and has also been the resident lighting designer for the college, lighting numerous shows and occasionally teaching classes as an adjunct professor.
Spencer has extensive knowledge of dance lighting, gained from 10 years as production manager and resident designer for the Trisha Brown Dance Company in New York, where he also had the opportunity to collaborate with Baryshnikov on a performance.
While working for Oasis Stage Werks, a leading theatrical rental house in Salt Lake City, Spencer developed a relationship with Kraig Knight, who currently serves as Elation Regional Sales Representative for the Rocky Mountain region.
“Back when I started at Westminster College I had bought a couple of Elation fixtures (Platinum Spot 5R Pros),” Spencer recounted. “Because I wanted the students to learn about automated moving lights, but they are over 10 years old now and we’ve had very few issues with them. A few years later, when Kraig used our black box for a demo, he left a few Elation fixtures behind for me to play with, and I loved those. Bottom line is that my experience with Elation and Elation fixtures has always been really good.”
During the process of creating a fixture package for the dance space, Spencer collaborated with Kraig, who provided product recommendations and sent several samples for testing.
“Then he called me one day and told me about the new KL Profile FC, which was just about to launch,” said Spencer. “We really liked them, but the thing that really sold me on them was Elation’s methodology in developing a new ellipsoidal.”
With an integrated 6° to 50° manual zoom, the KL Profile FC simplifies ellipsoidal lighting by eliminating the need for additional lens tubes, reducing cost and complexity. It houses a 305W RGBMA LED engine (output exceeds 10,000 lumens) and includes a 16-bit rotating gobo slot and a full blackout framing system. A Fresnel wash conversion kit is available as an option.
Spencer said a lighting system of mostly side light and down light was required. Although not as important when lighting dance, front light was
also requisite, especially as the space would also be hosting other events and flexibility was needed.
Other Elation fixtures in the new lighting rig include the Fuze Profile, LED moving head framing fixtures that the designer said gave him a wide array of visually interesting looks and add another layer of possibilities. He claimed he can use them for specials, full gobo washes across the stage, or animation looks. “I’ve been super happy with the RGBMA dimming engine in those, the colour mixing is great,” he said.
The Rayzor 760 LED wash effects can zoom down for a tight look, or spread wide for a full downlight wash. The Seven Batten 14 strip lights provide a full spectrum of colour from a 7-colour LED engine and work primarily as cyc lights.
The lighting gear in the performance studio is spread across overhead electrics with some on-booms. The school purchased the lighting gear through Elation dealer Performance Audio in Salt Lake City. www.elationlighting.com
COMPANY: Meyer Sound
LOCATION: California, USA
The Guild Theatre is attracting top-level artists to the Menlo Park area, south of San Francisco, with support from cutting-edge AV technologies that includes a formidable Meyer Sound system. The original Guild Theatre had served as a neighbourhood movie theatre for more than 90 years before closing in 2019. After being purchased by the non-profit Peninsula Arts Guild, the structure was gutted and transformed, with the principal focus on national touring artists spanning myriad musical genres. The Guild Theatre is on the small side for hosting high-calibre acts — around 200 seated and 500 standing — but intimacy is part of what makes the experience extraordinary. Drew Dunlevie, president of the Peninsula Arts Guild and the driving force behind creating the venue, said: “We put together an ‘A-team’ for this project, with theatrical design by Shalleck Collaborative, acoustic design from Salter, and integration by Legend Theatrical, all working hand-in-glove with the PA from Meyer Sound.” Dunlevie relied on both his own experience and advice from others operating similar venues in the Bay Area when attention turned to the sound reinforcement system.
“We knew that the Sweetwater Music Hall in the North Bay had a Meyer Sound system, and I’m good friends with David Mayeri who manages the UC Theatre Taube Family Music Hall in Berkeley,” he said. “That’s a bigger room but it’s also a non-profit with a similar focus, and David also pointed us toward Meyer Sound. Finally, Bobby Weir, a co-founder of the Grateful Dead, was behind us from the early days, and he concurred with the choice. So, Meyer Sound was on board before construction began.”
The design went through several iterations, but as installed the system now comprises main L/R arrays of nine LINA compact linear line array loudspeakers, with each array flown underneath a 750-LFC low-frequency control element.
The visceral low end is buttressed by a centre cardioid array of three 1100-LFC low-frequency control elements plus two more 750-LFC elements under the stage. Loudspeakers for the front, VIP, and bar fills are four ULTRA-X20, two ULTRA-X42, and eight Ashby-8C, respectively. The surround system, which supports both 7.1 film showings and Meyer Sound’s Spacemap Go spatial sound design and mixing tool, comprises six HMS-10 loudspeakers on the main level and four HMS-5 for the balcony.
“Meyer Sound was an obvious choice, in part because we had so little space to work with inside the fixed walls of the building. So, it only made sense to have a self-powered system,” observed Guild Theatre Manager Tom Bailey. www.meyersound.com
“WORKING AT TAIT IS AN OPPORTUNITY FOR ME TO CHALLENGE MYSELF, BE PART OF AND CONTRIBUTE TO A WORLD-CLASS TEAM THAT I ADMIRE AND RESPECT.”
MARK DAKIN Managing Director, TAIT Neasden & Haverhill
Having been appointed Managing Director of TAIT Neasden & Haverhill in September last year, Mark Dakin’s first six months in the role have been, in his own words, ‘a whirlwind’.
Working his way through leading roles at The National Theatre and Royal Opera House technical departments in London, Dakin joined TAIT with over 40 years of experience of working in theatre.
“The artistic application of technical expertise is the through-line of the 45 years of my working life,” said Dakin.
“I am a theatre technician who became a manager, who became intrigued by the systems and culture that deliver the fertile ground for artists and technicians to collaborate effectively and do their best work.”
During his time at The National Theatre and Royal Opera House, Dakin discovered an aptitude for working strategically with large teams, and also an appetite for the detailed work across team structures. This also included keeping a focus on the culture that is required to build the inclusive workplaces that deliver creativity and efficiency for the business, and the people working in it.
Dakin joined TAIT after spending seven years as Technical Director at the Royal Opera House, and he welcomes the challenges that lie ahead.
“It became clear to me that after seven years, I didn’t have the appetite to commit to the next five- to seven-year phase of leading the hardworking team in what is one of the greatest opera houses in the world,” said Dakin. “And it is worth noting that there was someone much more talented to succeed me there.
“Now, at TAIT I am a local leader in a global business, with responsibility to an amazing group of colleagues on a global executive team, helping to build the greatest creative organisation of its type on the planet.”
Dakin is buoyed by the latest investment by TAIT in the UK, with the company’s new facility recently opened in Haverhill.
“TAIT’s confidence in the UK is explicit in the multimilliondollar investment in the state-of-the-art facility at Haverhill,” he said. “This opportunity to build on the local legacy in the performing arts, cruise ship and permanent installation markets, and align it with the global legacy in the rock ’n’ roll, theme park and architectural installation markets is a huge privilege and responsibility.
“The prospect of local jobs with a global opportunity in the creative sector is a fantastic message to take to the next generation of designers, project managers, engineers, craftspeople and technicians, as TAIT moves into its next chapter.”
Looking back over his first few months at TAIT, Dakin has spent a good portion of his time in analytical mode, discovering if the skills he has accrued throughout his career can add value in a different context to that of a producing performing arts organisation.
“TAIT, like the Royal Opera House before and the National Theatre before that, is an opportunity for me to challenge myself, be part of and contribute to a world-class team that I admire and respect, while enhancing and improving the skills I have accumulated over the years,” continued Dakin.
“THERE WAS ONLY ONE COMPANY IN THE WORLD WHO WERE PREPARED TO ENTERTAIN THE AUDACIOUS IDEA OF WORKING IN PARTNERSHIP TO UPGRADE THE 20-YEAR-OLD FLYING SYSTEM AT THE ROYAL OPERA HOUSE – WHILE IT CONTINUED TO RUN THE BUSIEST REPERTOIRE ON THE PLANET.”
“People are people, and systems are systems, and the opportunities and threats have a familiarity which encourages me to believe I can really make a difference to TAIT and add real value for both our clients and the people I work within the company.
“There are clearly gaps in who we want to be for our customers, and who we sometimes are. I feel that it continues to be challenging to remain at the forefront of combatting the Climate Crisis, but also that the road map forged by others to get to carbon neutral offers as many opportunities as it does challenges for TAIT.
“We are proud to have ISO 14001 Certification for Environmental Management on our Neasden and Haverhill site, and the reduction in waste through the application of LEAN management processes is well embedded in significant portions of the company. But even with this there is still some way to go.”
Dakin is keen to highlight the work that goes on at every level of the company that helped navigate their way through the pandemic and continued to grow, culminating in a hugely successful 2022.
“Both our current and future workforce are challenging TAIT to develop and broaden our approach for its people, and we are lucky enough to have a wonderfully strong postpandemic base to build from.
“The TAIT group had an extraordinarily successful 2022, which, alongside the refining of the alignment of acquisitions that have been made over the past few years, and opening the new facility in Haverhill, we have a great confidence in the future.”
One acquisition that stood out to Dakin was that of Thinkwell Group – a global strategy, experience design and production agency that specialises in the master planning, design, and production of world-class guest experiences for theme parks, museums and brands.
“The acquisition of Thinkwell Group in early 2022 was a key signpost for me thinking about joining TAIT, as it speaks to the future of who we want to be,” said Dakin.
“I have always aspired to work as far upstream in the creative process as possible, in order to ensure that the potential in great collaborative processes downstream is maximised artistically, technically, operationally and financially.
“TAIT’s end-to-end delivery, where working with clients as partners way upstream, requires a very particular skill set. Now, being one team with Thinkwell, we have deepened that skill set, which provides the space to unlock creative innovation with our creative partners in the permanent install market and allows TAIT to add value right from the inception of an original creative idea, through design and manufacture to install and commission.”
Dakin has had hands-on experience of working with TAIT for over 30 years, including very closely during the complicated upgrade of the flying system at the Royal Opera House while he was Technical Director at the venue. “There was only one company in the world who were prepared to entertain the audacious idea of working in partnership to upgrade the 20-year-old flying system at The Royal Opera House – while it continued to run the busiest repertoire on the planet,” acknowledged Dakin.
“The system was upgraded without dropping a single rehearsal or performance for just over two years. It would be disingenuous to imply that the project went without a hitch – it certainly didn’t, and without the extraordinary efforts of many individuals from both the ROH and TAIT it could have been even more challenging. But the methodology for delivering an upgrade for flying systems that maximises what can be retained and replacing only what must be replaced and integrating it with state-of-the-art technology has been proven.
“It was environmentally sustainable as it maximised the continued use of existing infrastructure, and financially sustainable as it was upgraded while guaranteeing the continuation of its day-to-day business. And this approach could only have been achieved with a partnership that TAIT and the Royal Opera House established at the outset.”
Dakin is excited to be joining TAIT at a time when he believes the company is well placed to continue its current growth trends, which include acquisitions of productionglue, ITEC Entertainment and Kinesys over the past few years.
“I wouldn’t be here if I didn’t think that working for TAIT has the most exciting breadth of opportunity in the live experience and creative sector anywhere in the world,” explained Dakin. “Our growing team holds unlimited potential for the imaginations of our clients, customers and creative partners.
“I have no talent for predicting the future, but I know that the wellbalanced growth of a finely tuned TAIT will unlock innovation and creativity for the live experience of audience in a world that needs
extraordinary shared experience – now more than ever.
“#UnlimitYourIdeas and #CreateMomentsThatMovePeople are so much more than hashtags, and certainly represent a working life worth living. Our collective purpose is to create moments that move people.”
And while Dakin acknowledges that many of the headline-grabbing projects involving TAIT are centred on the company’s work on huge touring live events such as Adele and Metallica, he’s more than happy to shine a light on TAIT’s continued work inside venues which host theatre productions and opera.
“As the original ‘theatre kid’, I hope that TAIT can be as celebrated for the continued involvement in theatre and opera as we are for rock ’n’ roll and live events,” he said.
“We sponsored the TAIT Award for Best New Opera at The Olivier Awards this year; we still have shows with our equipment across London’s West End, and our technology is at the heart of many flagship theatres and opera houses around the world.
“Our work over many years on cruise ships and in theme parks is perhaps as hidden as the work in emerging markets of architectural installation,” he added. “Having said that, Rihanna’s performance at this year’s Super Bowl Half-Time show, or the huge productions for Beyoncé or The Rolling Stones will always have more of an immediate appeal than the installation of our technology across thousands of acres of an Orlando theme park, or an opera house’s flying system.”
In Dakin’s words, TAIT aspires to be the creative partner of choice to the designers, architects, artists, master planners, technicians and craftspeople of the world, and acknowledges that his path to
Below: @sohoplace, the first new theatre in London’s West End for 50 years. The configurable interior engineering was built by TAIT in Haverhill, and the theatre is equipped with a TAIT automated flying system and epiQ consoles.
becoming Managing Director of TAIT Neasden & Haverhill has been an interesting one.
“The idea of a dyslexic, art school dropout becoming the Managing Director of a UK Division of an American multinational corporate is beyond ridiculous,” he said, “but then you could just as easily say the same thing about me being the Technical Director of the National Theatre and/ or Royal Opera House. Both myself and Adam Davis, TAIT Group CEO, share one fundamental passion – excellence and courage in the artistic application of technical expertise.”
Along his career, Dakin has come into contact with an array of people who he has worked closely with or in passing, but is keen to highlight one person for having the biggest impact on his career.
“I have had the privilege of working with the greatest directors, designers and producers in the world, in worldclass organisations, and with the most talented technicians and craftspeople of their generations, at times of intense creativity and innovation,” said Dakin.
“The list of people and the range of influence that they have had on me is enormous, from Executive Directors and Artistic Directors to HR partners and security guards. It dawned on me a few years ago when I was codifying my thoughts about how essential the balancing of systems and structure with values and behaviours is to building high-performing teams in a creative organisation, that I understood how important and influential one of my longest standing theatre friends, Lucy Woollatt had been over the past 25 to 30 years of my career.
“Lucy was my Production Accountant when I arrived at the National Theatre as a young(ish) Production Manager in the 1990s, and as she went on to become Financial Director of English National Opera and Executive Director of The Young Vic, she continued to help me understand how essential it was to develop confidence and skill in the systems and structures of organisations in order to deliver both artistically and financially.
“It is all too easy for people like me to get excited about the appeal in the short-term, adrenalin-fuelled process of show-making and project delivery and neglect the essential work of the longer term.
“Friend, coach and advocate, Lucy also believed in and supported me in an attempt to open the door to a role that I believed would provide the basis for me to contribute to helping the UK subsidised sector build back better and differently post-pandemic – a door I sadly discovered remained well-guarded and locked.
“She was also one of very few who took the time to understand what was needed to get the best out of a dyslexic colleague, and I am forever in debt.”
“BOTH MYSELF AND ADAM DAVIS, TAIT GROUP CEO, SHARE ONE FUNDAMENTAL PASSION – EXCELLENCE AND COURAGE IN THE ARTISTIC APPLICATION OF TECHNICAL EXPERTISE.”Left: TAIT upgraded the above and below stage automation system at Gothenburg City Theatre, providing epiQ consoles and MCCs. The project was delivered amidst the challenges of the COVID-19 pandemic, and includes control of the historic stage revolve and safety features for performer flying required by EN 17206. Photos by Cees Snellink.
Dakin is also a keen advocate of helping people find their place in the industry, whatever their background or skill set, and he expresses the notion that innovation comes from working with differences – which is something that should happen in a safe environment with people enjoying the licence to be themselves.
“I’ve always been happy to share my view and, for better or worse, been unafraid to share my opinion, but with the caveat that mine is only one very specific view of the world,” he explained.
“I have always tried to be available to people who think I might be able to help, and I don’t think that will ever change, but I’m under no illusion about where my ideas and opinions on building inclusive workplaces sit, especially in the wider UK subsidised performing arts sector.
“For all the discussion groups, initiatives and consultations that went on during the pandemic and the subsequent post-pandemic ‘build-back-better’ period, I was not the only Technical Director from the large subsidised NPOs (National Portfolio Organisation) whose advice and/or council was left unsolicited.
“In my case, that may well have been a consequence of opinions which were expressed robustly. So, I’m not expecting a phone call from anyone with significant sectorwide influence any time soon.
“On the other hand, the work that TAIT started during the pandemic to build a more inclusive workplace is tremendously exciting, and it is an ongoing stream of work that I hope I can add real value to.
“But the questions of representation that have always been important to me, take on a much broader complexity in the context of a global company that has colleagues, clients and offices in the UK, North America, Asia and the Middle East. There is so much more to learn than to impart.”
GOTHENBURG / SWEDEN EMEA
A full-facility audio-visual install at a stunning new hotel in the heart of Gothenburg features discreet solutions delivered by Informationsteknik.
of Peder Carlsson.
With a striking interior to match its eye-catching exterior, Jacy’z Hotel & Resort needed an AV solution worthy of complementing such a plush facility – both in terms of looks and performance.
Hotel owners ESS Group turned to AV technical solutions provider Informationsteknik to fill the building with worldclass audio and video, with a selection of more than 130 Genelec loudspeakers deployed across a variety of audio zones, including the building’s bars, restaurants, lobby areas and meeting rooms.
The hotel also features a vast selection of Yamaha ceiling speakers, and speakers from the VSX series, with an overall control system from Crestron, and Barco Clickshare wireless conferencing for meeting rooms.
Christoffer Laudon from ESS Group oversaw the sound and video elements of the hotel project, while Karl Arnell from Informationsteknik was responsible for the product and solution procurement.
“We started the process by inviting the team from ESS Group to experience different solutions, to listen to them, and also see how the products look,” Arnell explained. “Our goal was to fulfil ESS Group’s vision and lead on everything from product selection, technical solutions and control systems. We wanted to make the whole building connected and create the best possible solution for both the guests
and the customer.”
Laudon’s vision was for the hotel to be filled with sound without it being visible. He was impressed by what Informationsteknik proposed, and ultimately delivered.
“The team at Informationsteknik worked quickly and had a professional attitude right from the first meeting,” he said.
“They had a competitive offer and were able to deliver at the level we were looking for at Jacy’z, so we felt it was a very good match for us.”
Tasked with delivering audio and video for the entire hotel – which constituted bars, gyms, suites, restaurants, spas, lifts and corridors – all areas are filled with high-quality, rich sound to match the hotels’ high levels of ambition.
One Biamp Tesira server, fully stocked with expansion cards, handles all the audio traffic, while there are nine central music players, on which a customised soundtrack is routed to any of the audio zones. Every venue has a DJ panel with XLR to Dante connectors so the source can be changed when the occasion calls for it.
“The beauty of having central audio routing is that the client can have a DJ playing in the penthouse spa, but they can listen in from anywhere in the hotel,” said Arnell. The site is controlled via a Crestron system, with a DM NVX AV over IP solution for HDMI distribution, and several processers working in the background. All aspects are
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integrated so hotel staff can use an iPad to control floors, zones or rooms in a unified user interface, with no need for swapping between apps.
“We built the entire project in a software called D-Tools,” Arnell revealed. “Using that, we inserted each product and component directly into the drawing and issued a detailed quote highlighting every cable and other detail. This means that both we and the customer receive complete documentation.”
Joakim Leissner, who was responsible for the system design, explained: “We needed to look at all the building’s zones and drawings to see what we could achieve. We proposed products, zone by zone, and developed room types that were equipped with the same technical solution.
“Before we started the project, we also visualised each component in one and the same software. We simulated the sound digitally for all rooms and surfaces in the hotel. The result guided our choices of products, colour choices and how many were required to create really good sound quality in every corner of the hotel.”
Working as Project Manager, Hakan Bezgin used his extensive experience in AV projects for hotels to good effect to ensure smooth delivery.
“Our first tender document was over 300 pages long,” Bezgin recalled. “There is a lot of detail and a lot of components, so it can get complex and demanding – both for us and the clients.
“We have
around 450 recessed speakers in the building, and ESS Group wanted each speaker to blend in with the colours and materials of the interior – and to sound good. We had to be involved early in the project for this to be achieved.”
Whilst the majority of Genelec loudspeakers used throughout Jacy’z are from the ubiquitous 4000 Series, there are certain areas where Informationsteknik opted for a Smart IP networked loudspeaker solution – namely the boardrooms on the 4th floor and the grand suite on the 18th floor.
“Smart IP definitely takes the Genelec experience to the next level – the convenience of having audio, power and control over just a single CAT cable is a huge advantage for integrators,” explained Leissner. “We also appreciated the Smart IP Manager software which made device discovery and configuration easy and straightforward, and provides status monitoring so we know how the system is performing at all times.
“So, for us, combining 4000 and Smart IP series models across the project produced the ideal balance of cost-effectiveness and networked flexibility.”
One important aspect for Bezgin was the ability to maintain open communication with all the other subcontractors involved in the creation of the building.
“In a new construction project of this size, it is especially important to have a good structure and to have close coordination with the
customer and the contractors, because if you have a solid basis, you are automatically in a better place to face any changes – be they large or small – that often occur during the course of a project,” continued Bezgin.
“We were responsible for the project management of the AV equipment, and because the AV is such an important aspect of the building, coordination with the other subcontractors in construction, electricity, network and operation is crucial. We had ongoing weekly meetings with the entire group, which allowed us to reach the finish line on time, within budget and with the quality we want to deliver.”
For Laudon and ESS Group, the project represents a job well done. “Going forward, we want to have similar technology and AV Systems in our hotels,” he concluded. “Both for ourselves, but also so that guests will recognise that they are in one of our hotels. We could not have wished for a better partner than Informationsteknik. The team has been helpful, competent and has looked out for our best interests, big and small.
“The result has been better than expected. It’s a complex project, but we haven’t had to backtrack on anything and everything has worked as it was presented.”
www.jacyzhotel.com
www.informationsteknik.se
Above left: The entrance reception area.
Above: Exterior and interior shots of Jacy’z.
Left: Inside the suites at Jacy’z.
After being approached by owners Stonegate Group with a brief to make Sailors Club ‘stand out from the rest’, Middlesex Sound & Lighting used a variety of solutions to provide an upgrade and overhaul of the seaside town venue’s visual and audio technology.
The audio system was improved with the installation of new Powersoft amplifiers, while the venue’s lighting and video elements were overhauled completely with the addition of CHAUVET Professional moving heads, customised LED cubes deployed on new trussing, projection mapping courtesy of Optoma projectors, a new LED ceiling, multiple LED screens, fog machines and over 350m of LED tape.
“We first met on site with Stonegate Group in April last year to discuss how we could take the venue to the next level,” recalled Toby Jones, AV Designer, Middlesex Sound & Lighting. “We’ve been involved with the club for several years, with the most recent install being a full Martin Audio system five years ago, but it was time to upgrade elements of that to bring it back to how it should perform.”
Jones found that the loudspeakers and subs were still in excellent condition and did not justify replacement, but the system was being driven by a large, eclectic mix of amplifiers that were tired and approaching their end of life.
“The existing design – using loudspeakers from the Martin Audio CDD series and CSX218 subwoofers – was still working well and in great condition, but the amplifiers were tired and lacked what the system should be able to deliver,” said Jones.
“It was time to upgrade, and while a costly process, it future proofs the venue for years to come.”
Jones stated that the choice was a simple one – the addition of two Powersoft Quattrocanali 4804 amplifiers and two Quattrocanali 2404 amplifier.
“These were installed to run all the peripheral areas where an assortment of Martin Audio loudspeakers from the CDD range are deployed. The main dance floor area is still utilising four Martin Audio Wavefront W3 loudspeakers, and they are now powered by a Quattrocanali 4804, while a Powersoft K3 amp powers the CSX218 subs.
“The K3 was installed five years ago, along with all the existing Martin Audio speakers and subs, and I couldn’t justify replacing that either because it was still performing
perfectly, which is a testament to its build quality. With this re-design of the sound, the existing audio system is back to where it should be.”
The total cost of the refurbishment came to £1.9 million and took place over a 12-month period, with work done at various intervals.
“The venue is split into two spaces – winter and summer,” continued Jones. “The idea is for the smaller winter room to operate out of season with roller shutters keeping clients from the much larger room. Simply put, footfall during off season periods doesn’t justify running both rooms, compared to the larger footfall that the summer season brings.”
Before entering either club space, customers are greeted by an entrance area, which features 40m of 24V RGB pixel tape, which are controlled by two Madrix Nebulas, run by the winter club Madrix server, while a 86in Iiyama display provides advertising content.
From there, guests enter the winter club, which has a low ceiling, and Jones was tasked by Stonegate Group Operations Director Sarah Miller to design something overhead that would ‘wow’ the punters. Jones knew that
moving heads could not be the solution because they would be within reach of the customers, so he explored other options.
“Sarah had showed me a video of an LED pixel ceiling, which looked amazing,” explained Jones. “However, it was at height with stretched fabric flown underneath. We thought initially that it could work, but realising we only had a ceiling height of only 2.4m to work with, we had to come up with a different solution.”
The solution was to design a self-contained, custom 4m by 5m LED grid ceiling with 224mm by 100mm wide RGBW pixels, spaced at 250mm intervals, all mounted within a frame with thick opaque Perspex protecting it.
“The whole ceiling above the dance floor now comes alive,” exclaimed Jones. “Although you can touch the ceiling –nothing can damage the fixtures underneath. It was a perfect solution and hit the brief.”
The ceiling is programmed with a Madrix 5 server and linked to a ShowCAD server over an Artnet splitter, this in turn controls the rest of the fx lighting in the winter club and the reception area pixel ceiling.
In the summer season, when the larger main club room
opens, the roller shutter separating the two rooms open. Two CHAUVET Vesuvio II haze machines, united in operation, produce a wall of coloured smoke, which entice customers to walk through.
Inside that main space, Jones and his team replaced the old trusses, which were aluminium, with a black power-coated tri truss in a large rectangular shape, with the middle section’s legs hanging 750mm lower. Blending into the black ceiling, the truss is equipped with eight CHAUVET Intimidator Hybrid 140SR moving heads and four CHAUVET R1X Spots, which are evenly distributed, with four Showtec Sunstrip blinder bars, side mounted to face the mezzanine.
Happy with the selection of light fixtures, Jones admitted he needed to complement them with something to enhance the space and step it up a level.
“We deployed six custom-built five-sided 1m transparent video cubes at different heights on the truss, so that they appear to float,” said Jones. “I wanted the cubes to be semi-transparent so that light could pass through them, and so the pixel pitch was important.
“Initially the idea was to install moving heads inside them, however that proved not to be functional, so was decided to fly them, floating in proximity to the punchy CHAUVET fixtures, with their beams passing through them to creating a nice effect.”
Jones further deployed 16 500mm by 1,000mm video panels to the rear stage wall in an exploded design, with four more Showtec Sunstrip blinder bars, a 3W RGB full- colour Unity laser from Kvant, and four CHAUVET FX1b fixtures in between.
“The result is phenomenal and the whole dance floor has become immersive, with sound, light and video used at its best,” he said.
In addition, Jones utilised three Optoma ZH406 projectors on custom mounts for projection mapping the 8m wall behind the mezzanine bar, which links the area with the atmosphere on the dance floor.
A Resolume Arena 7 sever supplies signal path, with three video outputs
AUDIO Incumbent Martin Audio sound system featuring: 14 X Martin Audio Cdd6, 2 x Martin Audio Cdd8, 10 x Martin
Audio Cdd10, 1 x Martin Audio CSX218 sub, 1 x Martin
Audio CSX212 Sub, 1 x Martin audio WS2a sub, 4 x Martin
Audio W3, 2 x Martin Audio CSX218
Newly installed: 2 x Powersoft Quattrocanali 4804, 2 x Powersoft Quattrocanali 2404, 2 x Bss audio Sound web Blu100 audio processors, 5 x custom built remote volume controls, 4 x Pioneer CDJ3000, 1 x Pioneer DJM 900NXS2, 1 x Allen and Heath Xone92, 2 x Martin audio XP12 powered monitors
LIGHTING
40m RGB 24v Pixel tape, 2 x Madrix Nebula, 22 x 1m led rgbw surface mounted tubes, 1 x Custom built rgbw led pixel ceiling – 4m by 5m, 1 x Custom built black powder coated truss system 9m by 5m, 1 x Madrix server, 1 x ShowCAD server, 1 x CHAUVET dmx splitter, 8 x CHAUVET Intimidator Hybrid 140SR, 4 x CHAUVET R1 Spots, 4 x CHAUVET FX1b, 3 x CHAUVET Intimidator Spot, 8 x Showtec Sunstrip Led bars, 1 x Artnet splitter, 18 x Meanwell 24v transformers, 18 x 32 Channel dmx encoders, 1 x ShowCAD server, 1 x Iiyama 86” commercial display, 6 x Custom built 3D 1m by 1m, 5-sided video cubes, 2 x NovaStar Video Driver, 3 x Optoma ZH406 laser projectors, 1 x Wyrestorm 4k UHD HDBT, Data path FX4, 12 x 1000 by 500 3.9mm pitch video panels, 1 x Custom built Resolume Arena 7 server
EFFECTS
1 x Kvant RGBW Unity laser, 2 x CHAUVET Vesuvio 2, 2 x Martin Jem ZR45
– one serving the LED cubes, one for the exploded video panels via an additional NovaStar controller, while a third is for edge blending the content from the projectors, which is delivered via a DataPath FX interface over HDBaseT.
Cues are sent to the Resolume server from the main ShowCAD server using touchscreen control in the main room’s DJ booth. That same ShowCAD server also controls the smaller winter room’s ShowCAD server over Artnet, which allows the LD to transition from the winter club lighting control location to the summer club control location using just one interface and a one-touch solution for both spaces.
Over 350m of RGB LED tape and custom built 360° and 300° LED 1m RGBW tubes provide extra effect lighting in the bar areas, booths and bottle steps, which are powered by Mean Well 24V transformers and 32-channel DMX encoders.
Jones liaised with Simon Clayton, one of Stonegate Group’s Property Managers and the lead for the project, over the core elements of the AV design, offering detailed drawings from Middlesex Sound & Lighting’s vision in April 2022. Ideas were bounced around on a video call, and once Sarah Miller gave the go-ahead the project gathered pace, with most of the install taking place in January 2023 before completion ahead of the club’s reopening in March.
At the same time as the nightclub refit, Middlesex Sound & Lighting equipped the adjoining Sailors Arms establishment with a new Martin Audio speaker system, featuring 12 CDD6 loudspeakers, four X10 loudspeakers, complimented by two X118 subs and powered by two Powersoft Quattrocanali 1204 amplifier and one Quattrocanali 4804 amplifier. A new Wyrestorm Network HD video system was also installed with four Wyrestorm NHD 200TX Transmitters and 13 NHD 200RX receivers connected to seven LG and six Samsung HD screens of varying sizes placed around the venue. Video source and channel selection controlled by Wyrestorm touch NHD on an iPad.
Designed by esteemed architect Martin Nyrop, who was said to be inspired by the Pantheon in Rome, the Østre Gasværk was constructed in 1883 and served as a functioning gas holder until 1969.
After lying dormant for several years, the city’s mayor agreed to proposals to convert the building into a theatre and was used for this purpose throughout the 1970s and 80s.
Large-scale productions of Les Misérables and Miss Saigon took place in the 1990s, but when the theatre’s new Artistic Director Søren Møller took over in 2022 he analysed the building to deduce what was needed to fulfil the venue’s potential as a fully immersive setting, stimulating both the audiences and performers’ senses.
“We needed to address the acoustic issues, because you can’t create a controllable environment if the sound itself is out of control – and there was a lot of destructive reflection and a really long decay,” said Møller.
While processing ideas to improve the room’s audio, Møller pushed himself further to consider using the characteristics of the building to enhance the storytelling potential – turning the bricks that surround the audience into a canvas.
“I’ve always wanted to push the envelope, and I’m striving to make the possibilities of storytelling endless,” said Møller. After coming up with the concept of an immersive environment in a theatre setting, Møller named it TheatreMax, giving it a term to reflect its parallels with the iMax experience of cinema.
“TheatreMax is a combination of the visual canvas, the auditive canvas, and the kinesthetic impact of the sound of the audio system – stimulating three senses at once,” he confirmed. Møller enlisted the assistance of AV integration and consultancy firm Stouenborg, audio suppliers Alfa Audio – distributors of d&b audiotechnik in Denmark, rigging firm Drop, and acoustic fabric company KulturHåndværket, to turn his concepts into reality.
With the plan of projection mapping onto the exposed brickwork, Anders Jørgensen, Project Manager at Stouenborg, led a team of their technical solution architects in drawing up a design featuring
25 Panasonic PT-RZ120 projectors, fed by two disguise 4x4pro media servers with four 4K outputs, each split using Vivolink HDMI splitters.
With the project needing to be delivered in a tight three month window over winter, much of the design work was done using 3D modelling BIM software and VR glasses. “We were able to walk around the building virtually, using drawings in BIM software, to pinpoint what areas a projector could cover in certain positions – or if it was going to be obscured by something such as a loudspeaker, which we could then move in the design,” said Jørgensen. “We could see exactly what the projectors would point at, ensuring that their positions on the truss where correct ahead of install and integration. This was instrumental in us completing the project on time, because not utilising this method would have taken us at least a week to physically put the equipment up and rearrange it to get it how we wanted.
“The equipment was ordered on 10 October, and ready to use, from the visual standpoint, on 9 January,” confirmed Jørgensen.
Another time saving method was to treat the set up as if they were preparing for a live event.
“Prior to arriving on site, we built every component in the warehouse, connected everything, used the correct length of the fibre cables – everything you would do if you were preparing to set up a festival,” said Jørgensen. “It was
prepared, then dismantled, packed onto 30 pallets and rolled into the venue. Once inside it took one and a half days to put it together, and then on day four everything was up and running.”
One issue Jørgensen and his team faced was the noise created by the 25 units hanging above the audience. To counter this, they developed an enclosure for each projector that kept their noise output to a minimum. “We optimised an idea that we had used before, and with these enclosures it turns out that the refrigerators in the bar area are noisier than the projectors above the audience.”
When it came to deciding on a media server solution, Jørgensen believes that disguise’s compatibility with 3D creation tool Unreal Engine will future proof the venue.
“We have seen a big rise in the use of disguise media servers in large projects like this over the past few years in Denmark, and for this facility it was an easy choice,” he said.
Stouenborg utilised Lightware HDMI20-OPTJ-TX90 transmitters and HDMI20-OPTJ-RX90 receivers for signal extension, and Netgear managed switches manage the network traffic for the projection system.
Tasked with creating a discrete audio solution that would envelop the seating rake in surround sound, Alfa Audio
CONVENTION CENTERS STADIA THEATERS CRUISE SHIPS
Managing Director Lars Baun Frederiksen immediately pictured utilising d&b audiotechnik’s Soundscape, and brought Steve Jones, Head of Education and Application (EMEA) at d&b, on site to discuss the object-based sound system’s capabilities in such a setting.
“The challenge was to design what needed to be a complex sound system to meet the creative desires of Søren and his team – and try to make it as small as possible,” said Jones, who had enjoyed recent history working with round venues having been involved in projects at London’s Royal Albert Hall and Wembley Stadium.
“Lars brought me to meet Søren, and in that first encounter with the room while I did some measuring, I found it to be very enchanting,” he continued. “We discussed certain things that Søren aspires to do, and what I found with this large-scale immersive installation is that it is as much a creative project as it is a technical one. “Because of this, we didn’t really know how we would use the system until it was in place and stories were starting to be told – so, it has become a case of new questions arising as the system is used in productions, and then solving problems by marrying the technology to the desired emotional impact. And with that, we are already looking at little ways we can tweak elements to improve the system.”
The Soundscape system is powered by two DS100 64 x 64 matrix processors, and both En-Scene and En-Space software is run so the system can be used for object-based
signal management and room acoustic augmentation.
Alfa Audio installed 23 d&b AL90 augmented array loudspeakers in nine arrays across the front of the seating rake, with three SL-Subs flown behind the central cluster. Sixteen Yi10p are mounted for 360° surround sound while 15 44S loudspeakers are used for frontfill and 12 Yi10P are used as delays. In the ceiling sit 32 8S loudspeakers, while six 21S-Subs lie under the seating to add both sound and a haptic experience. A mix of two D80, nine 40D, eight 10D and eight 5D amplifiers power the system, each with four channels, while network-based signal distribution is managed by Luminex 30i switches.
“With a facility like this, where it’s not a functional sound system, and not a functional team – they’re a creative team that are striving to improve storytelling – it makes it a journey and process over time, rather than a one-off delivery,” said Jones.
Syncing with the Soundscape software is a Stagetracker II tracking system by TTA, which tracks performers in the space. Soundscape pinpoints where they are, and the audio is delivered through the speakers from their location.
This audio capability, when coupled with the video creating a huge canvas on the walls and ceiling, becomes just as important for audiences to get lost in performances, and not notice the technology hanging from the trussing.
“We were very conscious from the beginning not to create
a room full of black boxes,” continued Jones. “We wanted people to be able to sit in their seats, hear sound from all around them in relation to the show, and enjoy the visual element from the projectors without any obstructions.
“I can recall when I stepped back into the room when everything was installed, looking up and thinking that it didn’t look as imposing as I had thought it would. So, the technology is seen, not hidden, but it’s not intruding too much, and sits quite nicely in the space.”
For Møller, his vision was for the focus to be on the storytelling, and for theatregoers to experience ‘true theatre magic’.
“The entire field of vision is covered by the projection mapping, you are surrounded by sound, and we can make the seating rake shake because of the low-end frequency delivered by the subs that are placed under there,” Møller explained.
“We put six subs down there, and the reason for this is because we put so much dampening throughout the venue, we needed a little more, so we can now have that haptic experience for all the seats.
“The overarching point of TheatreMax is to underline and enhance the narrative of the show or performance taking place in the theatre. From a production perspective, to be able to change the imaginary circumstantial setting in a heartbeat makes for exciting creativity, and it can be done here in a very convincing way.”
AUDIO
23 x d&b audiotechnik AL90, 3 x d&b audiotechnik SL-Subs, 16 x d&b audiotechnik Yi10p, 15 x d&b audiotechnik 44S, 12 x d&b audiotechnik Yi10p, 32 x d&b audiotechnik 8S, 6 x d&b audiotechnik 21S-Subs, 1 x DiGiCo Quantum 7 T, Luminex 30i switches, TTA Stagetracker II.
VISUAL
25 x Panasonic PT-RZ120 projectors, 2 x disguise d3 4x4pro media servers, 1 x Eaton EMAH28 power distribution unit Lightware HDMI20-OPTJ-RX90 receivers and HDMI20OPTJ-TX90 transmitters, Netgear M4250-16XF, AXM76520000S and M4250-40G8XF-POE+ switches, Vivolink VLHDMISP1X4 HDMI splitters.
www.osterbroteater.dk
www.stouenborg.dk
www.alfaaudio.dk
The acoustic dampening of the exposed brick was one of the first things Møller looked at when putting together his vision for the space.
“The ceiling was exposed, and because it is a landmark building you can’t change it structurally,” said Møller, who came up with the idea of creating a mechanical system that covers the exposed brick with fabric dampening as a show starts, and retracts after the performance finishes. A total of 1,200 sq m of acoustic dampening treatment was installed across the venue by KulturHåndværket.
The venue premiered its first show in TheatreMax, Hair, in February, and in September a musical adaptation of Pink Floyd’s Another Brick in The Wall, Part V, will begin. Hair and the TheatreMax technology will then transfer to a venue in Aarhus after its run in the Østre Gasværk Teater. In order for Møller’s vision to become a reality, he acknowledges the commitment of three foundations that made it possible, with investment from the A.P. Møller Fonden, Augustinus Fonden and Aage og Johanne LouisHansens Fond, while Beckett Fonden sponsored a new DiGiCo Quantum 7 T, which is utilised to control the sound and tracking system.
“Once you get past the obstacles, this space opens up,” concluded Møller. “We now have a venue to host whatever kind of story that wants to be told, putting the onus on the creative imagination of those in charge of productions.”
Part chic restaurant, part energetic club, Babylon is a decadent example of an innovative approach to luxury dining.
When a new night spot was planned to open in Dubai’s Gate Village, a district of 10 towers where commerce, cuisine and creativity meet, they turned to Procom Middle East to supply the AV equipment.
In order to complement the stunning interiors, which are inspired by the lavish excess associated with the ancient city of Babylon, Procom ME supplied an Adamson audio system, an array of Cyclops Lighting fixtures, special effects by Antari and Visiotek LED displays.
A state-of-the-art audio-visual solution was supplied with Adamson loudspeakers at the forefront, ensuring that the sound quality was as impressive as the venue itself. With Adamson’s innovative technology, Babylon’s sound system is able to fill the space with crystal clear audio, creating an immersive experience for guests. The powerful, yet precise sound of Adamson speakers adds to the energy of the venue, making Babylon the ultimate destination for those looking for a night out in Dubai.
Various products from Adamson Systems were integrated to achieve an immersive sound experience, with the main system primarily comprising of the IS7PX loudspeaker, a passive 2-way, full range point source cabinet from the IS-series, which have been supplied throughout the venue, together with the IS7P and the IS10P.
“Babylon is a premium concept that required a premium audio solution, and so the system had to be multipurpose and flexible due to the nature of the venue changing from season to season, from a club to a live show, band, or vocal performers,” said Procom Sales Manager, Anro Schroeder. “Adamson fit all of the briefs in terms of audio quality, output, and coverage to provide the best overall solution for the venue.”
The IS10P is a 2-way, full range point source cabinet that provides equal tonal balance when moving outside of the intended coverage pattern, while a larger IS119 subwoofer is mounted in an ultra-efficient frontloaded enclosure, designed to reproduce clean, musical low-frequency information.
Along with the IS-series, additional subs and point sources from the Point-series and the Point Concentric series have been deployed as reinforcement in the venue.
The Point 8Pi and 8P are the smallest members of the Point series family and are right at home with speech systems or moderate level playback systems, but still powerful enough to take on the live staged entertainment of Babylon.
Furthermore, the PC5i, PC10i, PC12i, and PC8i of the Adamson Point Concentric series were deployed, ensuring a warm, deep sound. All artist monitoring is achieved with M12 units from the M-series as stage monitors.
“The lightweight Adamson M12 monitor delivers everything needed in a low profile stage monitor: fantastic gain before feedback, precise pattern control, and high output with extremely low distortion,” said Schroeder. For clean sound reproduction, several amplifiers from Lab Guppen were used including D 80:4L, D 40:4L, D 120:4L, and D 200:4L as well as the PA1500.
“Lab Gruppen is the standard amplification for all Adamson systems because each amplifier has dedicated pre-sets for all of the Adamson products used in Babylon, and can be networked over Dante to the
control system,” confirmed Schroeder.
For the audio control, Symetrix Prism 16x16 and Blustream’s DA11AEN and DA11ADE Dante audio analogue decoders were selected. As a result, the systems can be easily managed with the Symetrix Arc-3B remote control and a tablet. A Midas M32 mixing console is supplied for live event audio control.
“The venue audio is controlled and monitored using Symetrix, with all audio networked over Dante using Blustream devices, and with a venue of this size it is important to maintain a centralised controller,” said Schroeder. “The Prism DSP’s from Symetrix allow flexible and scalable control with wireless and remote access, while the Blustream Dante encoders and decoders were chosen for their proven reliability here in the region.”
When it came to designing a grid and circle for the venue’s lighting fixtures, the black Eurotruss HD34 was selected, and on that sit selected units by Cyclops Lighting, which accentuate Babylon’s theatrical atmosphere.
More than 250 Boomer 6 LED RGB were selected for the venue. The front ring of the Boomer 6 is pixel controlled with built-in macros, which makes this compact zoom PAR the ideal fixture for Babylon, while Sparkly 600 and 800 moving heads were selected because of the full control of light beam and coverage.
In addition, Flash 48, PR250, LEDE 200 Spot moving head, and LEDE 100 compact moving head were selected.
To create fans of larger beams with a broad projection of bright RGB color mixing, the Razor RGB6300 was selected for the stage area, along with the indoor pixie strips.
Madrix Luna 16 units were selected for the lighting control, distributing DMX512 data over long or short distances using the ethernet network or USB.
“Madrix is the go-to for pixel mapping and is widely used due to its
SOUND
12 x Adamson IS7PX, 2 x Adamson IS1P, 4 x Adamson IS119, 4 x Adamson IS118, 8 x Adamson Point 8P, 1 x Adamson PC12, 5 x Adamson PC8, 2 x Adamson PC5, 4 x Adamson IS5C, 1 x Adamson PC10, 2 x Adamson M12, 4 x LabGruppen D40, 2 x LabGruppen D80, 2 x LabGruppen D120, 1 x LabGruppen D200, 1 x Midas M32, 1 x Symetrix Prism 16, 1 x Shure Axient Digital Wireless Microphone System
LIGHTING
4 x SparklyLED600P, 16 x Sparkly800W, 16 x Flash48, 280 x Boomer6, 6 x PR250T, 10 xLede100B, 10 x Lede200S, 10 xCPX607
LIGHTING CONTROL
4 x Madrix Luna 16, 4 x Cyclops SPR328
EFFECTS
2 x Antari HZ-1000, 2 x Antari HZ-500, 1 x Antari DNG-250
TRUSSING Eurotruss HD34
HOIST SYSTEM
Chainmaster C1 Hoist 320kg, ProTouch StageOperator control.
LED
1 x Visiotek P2.6 , 1 x NovaStar MCTRL4K, 2 x NovaStar MCTRL660Pro
www.procom-me.com
ease of use, fast setup, and flexibility,” said Schroeder. “Madrix was chosen for Babylon as the system is indefinitely scalable, allowing for future expansion, and it integrates seamlessly with all standard lighting consoles.”
For the special effects on the stage, HZ-500, HZ-1000 units from Antari were selected, alongside a DNG250 low-fog generator, which create a waterfall-like effect, with Schroeder praising their reliability in a multitude of different settings.
“Antari set the benchmark for theatrical effects with reliable and durable machines using the latest technologies,” he said. “We have used a variety of Antari machines across many venues, including larger scale theatres and theme parks, and because of this we were confident that their application in Babylon would be a success.”
Behind the stage sits a P2.604 indoor LED screen display from Visiotek, with LED screens controlled through a NovaStar MCTRL 4K LED sending box.
When it came to deploying a vinyl floor covering for the main stage and piano stage, Procom suggested the Harlequin Hi-Shine product. Schroeder, said: “We suggested Harlequin Hi-Shine vinyl for Babylon as it is the ideal product for the stage. The reflective surface creates a striking and eye-catching effect, which is what the production team was looking for.”
“The Hi-Shine vinyl gives the stage a more professional appearance and reflects on the attention to detail and overall impression. It’s durable and easy to maintain with excellent scratch resistance to ensure it will keep its impressive appearance even after continuous use.”
A Shure Axient Digital Wireless Microphone system was also supplied, with a six handheld mic system and a six headset mic system. Finished with eye-catching fabrics and textures, married tastefully with detailed lighting and a sound system for all occasions, Babylon is a sensory experience from the plate to the stage.
The Warner Theatre in Erie is brought into the 21st Century with a renovation and restoration befitting the iconic venue’s status.
Commissioned in 1929 by Warner Brothers Studios and opened in 1931, Warner Theatre is an iconic landmark in the town of Erie, Pennsylvania. The venue operated as a vaudeville theatre until it was sold to the city of Erie in 1976, which saved it from demolition. After it was placed on the National Register for Historic Places in 1982, plans to convert it to a performing arts centre firmed up in 1992. The venue was a roadhouse with no in-house technology, so whoever rented the venue – be it a theatrical production, philharmonic series, the local ballet company or a concert tour – would have to bring all their own equipment.
To bring it in line with the theatre facilities of today, a complete overhaul of the building was needed, and this was recognised back in the midnineties under the guidance of former Executive Director of Erie Events John ‘Casey’ Wells, who served this role from 1992 until his retirement in 2022.
Now, after the final phase of redevelopment, which took place during the COVID-19 pandemic and cost $30m, the theatre is equipped with a large stage, new rigging, new audio and stage lighting systems, customised orchestra shell, stage lift, and a new 13,750 sq ft back of house area featuring a rehearsal space and loading docks.
“This venue has everything a modern theatre needs to be competitive in today’s market,” said Warner Theatre Production Manager Ryan Patsy. “We acquired the land behind the theatre to build a wonderful new stage house, knocking down the existing stage house from the proscenium, to create space for rehearsal halls, dressing rooms and the loading bay.”
To provide incoming productions and touring artists with a riderfriendly sound reinforcement system with excellent coverage and audio quality, Patsy teamed up with consultant David Bateman, CTS-D, of Acentech, and integrator Todd Pander of Dobil Laboratories to outfit
the historic theatre with a state-of-the-art live sound reinforcement solution featuring JBL VTX Series loudspeakers and Crown I-Tech Series amplifiers.
“They were looking for a house sound system that could meet as many of the touring acts’ riders as possible,” said Bateman. “Erie Events was bringing in more Broadway-style big performance bus-and-truck type shows, and it wanted to be able to facilitate that.”
To ensure wide and balanced coverage with power and clarity, the main left-right hang consists of 18 JBL VTX A8 line array speakers, suspended nine per side, which provides performance, efficiency, and a consistent 110° of horizontal coverage. Additionally, the team installed four JBL VTX B18 subwoofers deployed on the ground for reinforced bass response throughout the venue.
“The A8s are crisp and clean. We’ve had no complaints with the new system,” said Patsy. “We used to have complaints before, largely because we’d do shows in one day, and they wouldn’t have time to tune the system properly under the gun. We’ve eliminated that step for a lot of our smaller performances. We just need to hook up the system and it’s going to cover the space well with intelligibility everywhere in the room.”
In addition, JBL AC25 and AC26 loudspeakers serve as front fills and balcony fill speakers respectively, while Crown I-Tech 4x3500 amplifiers supply the entire system with clean and ample power, and the Crown plug-in for QSC Q-SYS systems enable the production staff to easily monitor the status of all amplifiers remotely from FOH.
“The Crown plug-in for Q-SYS is really cool,” said Patsy. “I can put it on a touchscreen display at FOH that’s easily visible by anyone on the crew, so we can just look at a glance and make sure we’re running the system within the right parameters without blowing anything up.”
On the rare occasion that a touring production insists on bringing their own sound system, the VTX A8’s auto-locking rigging mechanism helps Patsy’s team streamline the breakdown and subsequent redeployment processes rapidly, saving the show promoter time and money in the process.
“It takes us less than an hour to completely strip the PA,” commented Patsy. “When the promoters are here paying for every minute that the guys are on the clock, it’s a huge time saver that the VTX arrays go up and down so quickly.”
Consultant David Bateman spoke to the importance of aligning speaker selection to room acoustics when designing the system and praised the VTX A8 as the ideal fit for the Warner Theatre.
“A system needs to match the acoustics of the venue itself; if those two things don’t work together, it can do more harm than good,” Bateman explained. “If the box is too big for the room, it can be overpowering and sound horrible. I’ve seen it before. The JBL A8 is the right box for the room.”
Completing the audio system are two Yamaha QL5 consoles, one for stage monitors and one for FOH, with the audio delivered over Dante. The Yamaha consoles send the signal to the Q-SYS processor via Dante; from there it breaks out to the Crown amplifiers.
Patsy noted that Todd Pander of Dobil played a significant role in selecting the VTX A8 when the speaker originally indicated in Bateman’s initial design proved to be impossible to procure due to global supply chain issues.
“Todd did a great job of walking the line,” Patsy recalled. “Because I have a live sound and integration background, I was more demanding than
LIGHTING
1 x ETC Gio console, 24 x ETC ColorSource CYC, 4 x Strong Lighting Super Trouper 16K
AUDIO
2 x 8 JBL VTX Series A8 , 2 x JBL VTX Series B18 subs, 6 x JBL AC25 , 8 x JBL AC26 , 1 x Q-SYS Core 110f processor, 2 x Yamaha QL5 console, 4 x Shure ULXD Handheld, 2 x Shure ULXD Lav Pack
PRODUCTION COMMUNICATIONS
Clear-Com FreeSpeak II 5 Channel Wireless Production Intercom System
Clear-Com MS702 2 Channel Main Station w/ Power Supply
Clear-Com KB-701 Wall Station (22 in back of house rooms)
ASSISTED LISTENING SYSTEM
ListenTech ALS RF Transmitter
ListenTech LA400 Ear Speaker Receiver
ListenTech LA-166 Neck Loop Receiver
www.eriewarnertheatre.com
your average customer. He did a great job of adapting to make changes to what we really needed in the venue. It turned out great largely in part to the craftsmanship that Todd brought.”
Bateman also praised the role played by HARMAN installed audio expert Keith Caggiano in the final tuning of the system and spoke highly of HARMAN’s commitment to ensuring the final solution aligned with his vision for the venue, with Caggiano on site in the days leading up to the reopening ensuring everything was set from their aspect. As a graduate of nearby Mercyhurst University, Bateman also related a special satisfaction in being involved with the revitalisation of Warner Theatre.
“I went to school in Erie at Mercyhurst College [now Mercyhurst University],” said Bateman. “When I graduated, I walked across the Warner Theatre stage. While I was going to school, I had done a few private events at the theatre, so there was a personal connection to this project for me. It was like a full circle moment for me, to help this theatre remain a vital part of the community across generations.” That feeling was shared by many people involved in the project, including Pittsburgh-based systems integration firm Integrated Theatre Systems (ITS), which worked under subcontract to NEWCO Electric to furnish and commission the specialty lighting systems in the auditorium, lobby, and rehearsal hall, as designed and specified by the consulting firm Theater Design, led by its president Michael Mell. ITS Principal David Nash, President Susan Stowe and their daughter, Rachel, a professional dancer, made annual treks to the Warner Theatre for a Nutcracker collaboration with Lake Erie Ballet, making the theatre a beloved part of their family’s holiday tradition.
“Our initial scope included Electronic Theatre Controls (ETC) Sensor and Unison Paradigm products, custom power and data distribution, integration with orchestra shell ceiling and FOH lighting truss systems provided by others, and ETC Source Four fixtures package,” Nash outlined. “Additional scope included integration of existing architectural lighting
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and house lighting into the new ETC system – a project that required extensive circuit tracing and mapping, and testing of a multitude of LED retrofit products to find aesthetically appropriate solutions for each type of historic luminaire.” Challenges were thrown up by pandemic-driven supply chain issues and inclement weather conditions, but all of the disciplines pulled together across the project and the theatre reopened with a grand celebration worthy of its history.
“The Warner Theatre’s Ed Snyder and Ryan Patsy never lost clarity in their quest to balance curation of the 1931 Warner Bros. movie palace with modernisation of operations needed to ensure its future in the 21st century,” continued Nash.
“From previous projects with Ed Kargol at NEWCO Electric, we knew we had a first-rate collaborator; NEWCO’s foreman, Bill Hartmann, and his crew executed flawlessly, with tremendous ingenuity and attention to detail. We also found ourselves on the job site with Horizon Information Services, a frequent collaborator in high-profile professional venues. Both firms’ technicians communicated regularly to ensure that our respective systems could be interfaced appropriately and meet the demands of a busy roadhouse that also hosts local productions.”
When it came to the theatre’s rigging system, Tiffin Scenic Studios, Inc, of Ohio installed more than 60 new line sets and arbours, and was responsible for the replication of the lambrequin curtain.
“Once the stage space was determined after the building’s expansion, we worked alongside the design team in determining the rigging equipment needed,” said Robert Bordner, Project Management, Tiffin Scenic Studios, Inc.
“Once the rigging system was identified, we worked with the team regarding what loading would be put upon the stagehouse structure. The structural engineers calculated the steel members needed to properly support the rigging system.
“The new rigging grid above the stage is 89ft above the floor. There are over 60-line sets – each with a factored capacity to accommodate these new products, props, and set pieces, as well as the new state-of-the-art lighting pieces used in today’s productions.
Bordner and his team were also commissioned to supply all the stage draperies, including the grand drape and ornate lambrequin.
“The original grand drape was not hanging due to extreme dry rotting, but the original fringe was salvaged,” Bordner explained. “We did, however, receive some old photos showing the original grand drape, which allowed us to help recreate the original design features. These intricate draperies are an important aspect, as when you enter the theatre house, the focus is the proscenium opening. At 70ft from wall to wall, this opening is set off by the Grand Drape as well as by an elaborate Lambrequin.”
Replicating the original lambrequin pieces presented a challenge, but by using computerised printing on fabric
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to create the damask look and staying committed to maintaining the historic character and integrity of this community landmark, yesterday’s beauty was recreated.
The theatre’s orchestra shell was designed and installed by StageRight of Clare, Michigan. “StageRight got involved in this project during the design phase in 2019,” explained Kip Weis, Performing Arts Market Manager, StageRight. “Our design team came up with a concept on how we would approach such a project, and our approach didn’t vary much from the concept that the architect had developed, making it seamless for our Opus II to be considered as an ‘approved’ item in the construction documents.”
StageRight was awarded the acoustical shell portion of the project through its partner Pittsburgh Stage in April 2020, but that timing posed a challenge due to the COVID-19 pandemic, and so the design of this equipment was done primarily from home offices. “More challenges were ahead when we began to manufacture the Opus II shell,” continued Weis. “Material shortages and extended lead times tested our production schedule throughout the process, but we persevered and accomplished our manufacturing in a timely manner.” As part of the final phase of the renovations a new marquee was installed by Poblocki Sign Co. of Milwaukee. The new four-piece aluminium and steel, lighted marquee features two signs over the theatre’s front entrance, while the brick-and-stone façade that surrounds the marquee was also restored, fortified and repaired by Erie’s Fiske and Sons Inc. The overall weight of the two signs and the marquee is around 18,500lb and includes 6,910 LED lights. The new marquee replicates the theatre’s original marquee, and incorporates many of its original elements, including stained glass.
Ed Snyder, Director of Theatrical Facilities at Warner Theatre, is proud of the collaborative effort put forth by the contractors, consultants and staff who were involved in the project, and is excited to show off the revamped venue. “I want to pay particular tribute to John ‘Casey’ Wells, who retired shortly after the project finished, the long-time Executive Director of Erie Events and the Warner Theatre (1992-2022), and Daniel Coffey of Daniel P. Coffey & Associates, Chicago, IL, the architect for the project,” said Snyder. “They started the renovation journey together in 1994.”
1976: Mayor Louis J. Tullio orchestrated the purchase of the Theatre by the Commonwealth of Pennsylvania and saved it from demolition.
1977: The Erie Civic Center Authority was formed to operate the facility.
1992: Metro Cultural Planning Committee of the Erie Area Fund for the Arts assessed that the Warner Theatre was the “Number One Priority” for a future capital fund drive for the arts.
1994: $7 million appropriation from the Commonwealth of Pennsylvania secured the Warner Theatre Preservation Trust. This 501(c)3 non-profit organisation was formed to raise an additional $3.3 million in local support.
1998: The Preservation Trust reached its goal in local support and Daniel P. Coffey & Associates, Chicago, IL was hired for design services.
1999: Additional state money was released and additional local funds were raised bringing the total funds available to $13.5 million.
2002: Phase I: $2 million. The project began with the painting of the interior walls and ceilings. The plaster, gold leaf, tapestry, paint and decorative elements of the Grand Lobby and auditorium were fixed, restored or replicated. A new roof, repair of the outside facade and a doorway into the adjacent bank community room were also completed.
2003: Phase II: $1 million. Theatre closed. Original seats were replicated and installed on the auditorium level and the balcony seats were renovated. The Theatre also acquired the bank building adjacent to the building.
2007: Phase III: $2.3 million. Expansion and integration of the Theatre with the bank building. Updates incorporated a new entrance, box office, electronic marquee, more lobby space, an elevator, additional restrooms and concession areas. Improvements were made to make the theatre compliant with the American with Disabilities Act.
2016: Phase IIIA: $2.2 million. After several years of land acquisition issues with Mid City Towers, the theatre purchased land, parking spaces and an office building to allow for the stage expansion.
2020: Tom Hagen contributes $1.5 million, Eriez Magnetics contributes $1 million and Erie Insurance donates $500,000 to complete the fourth and final phase of the restoration project.
2020 - 2021: Phase IV: $30 million. The final phase included stage expansion, the creation of 13,750 sq ft of new backstage space, new rigging, stage lighting, updated sound system, new loading docks, rehearsal hall, customised orchestral shell, and new HVAC equipment. The marquee is reconstructed to replicate the original, incorporating original elements including the stained glass at the corners of the canopy. The brick and stone façade around the marquee is restored and repaired. Additionally, an enclosed walkway is affixed to the theatre connecting the mezzanine foyer to the rehearsal hall. The project also includes new carpeting throughout the theatre, restoration of the original rest rooms, lobby shadow boxes and refurbishment of the Grand Lobby terrazzo flooring.
2022: Grand Re-Opening with the Erie Philharmonic, January 23rd.
An equilibrium of art and entertainment await at the newly built auditorium inside Patna Women’s College.
Having opened in 1940, Patna Women’s College was the first higher education facility of its kind in the Indian state of Bihar, in the north east of the country.
The college recently completed the build of its 2,500-seat Veronica Auditorium, and Punjab-based Soundxperts won the contract to equip the room with the latest audio, video, lighting and control technology, in addition to the theatre’s seating and flooring.
The Soundxperts team worked closely with pro audio distributor, Sun Infonet, which supplied leading brands for the audio component of the project.
“Thanks to Sun Infonet, we could put together the complete audio solution from renowned brands like Shure, Allen & Heath, Audiofocus and Quest Engineering,” said Soundxperts owner Amninder Warraich. “Sun Infonet is known for its commitment, timely delivery, technical support and after-sales service, and they have really delivered on all aspects of the brief on this project.”
The huge stage can fit over 350 people and can be used in several ways, from live music, to theatrical performances, video conferencing, cinema screenings, and cultural events.
Dominating the stage is India’s largest Samsung P4.0 Active LED screen, with switching provided by AMX. In addition, four networked cameras and 14 smaller Samsung display
screens are installed in the green room, VIP room, control room, and main hall.
For the hall’s main PA system, Soundxperts installed eight Audiofocus ARES 8a line array elements and three B 18a LF extensions on each side of the stage, plus a further cluster of four ARES 8a cabinets situated as centre fills. With the potential for many artists on stage at once, eight Audiofocus CM 15a low profile monitor speakers were provided, together with four MTSub 218a twin 18in subwoofers.
“Belgium-based Audiofocus has always focused on transparent tonality that needs minimal equalisation,” said Sun Infonet Senior Application Engineer, Kallol Nath. “Having Audiofocus as the main PA system gives the end user ease of operation, and as all the cabinets are equipped with internal Wi-Fi, the user can check and alter any parameter of any loudspeaker when needed. This brings a lot of flexibility to the entire system.”
In addition to live events, the PA is capable of delivering full 7.1 surround sound for screenings.
To achieve this, 18 Quest HPI 110 loudspeakers are installed, with an additional 13 HPI25 cabinets employed as front fills under the stage and balcony and two QM4 units as side fills, plus a pair of QM18SA subs on each side of stage.
Four Quest QSA200i active speakers have been positioned in the main and stage control rooms, while Quest QX2280 amplifiers are installed to power speakers in the main control room and entrance foyer.
A pair of Allen & Heath Avantis consoles was supplied for both FOH and monitor mixing duties, and the main PA and surround systems are controlled by an Allen & Heath AHM32 matrix processor, supported by DX168 and DX012 I/O expanders connected over S-Link.
Presets transforming the entire auditorium from a live venue to a cinema can be recalled from the front panel of the AHM-32.
“Allen & Heath’s AHM DSP is built for scenarios where we have multiple sources and zones,” said Warraich.
“The ability to link AHM-32 to external input and output
modules expands its horizons and allows you to control the entire system with surrounds, green rooms, control rooms, and more. AHM is a very versatile, powerful DSP and it is readily available on the market.
“Avantis consoles are very flexible and take the main responsibility for mixing all the acts on the stage,” he added. “Equipped with a gigaACE card and a DX Hub remote audio networking hub, Avantis controls the stage as well as the control room, and multiple inputs coming from the Shure wireless microphones, as well as providing enough inputs and outputs for any other operations that need to be done.”
Shure wireless microphones were deployed throughout the Auditorium and control rooms, including the flagship Axient Digital system for the main presenter, plus ULX-D,
Left: Soundxperts won the contract to equip the new 2,500-seat Veronica Auditorium with audio, video, lighting and control technology, in addition to the theatre’s seating and flooring.
AUDIO
20 x Audiofocus Ares 8a tops
8 x Audiofocus B 18 LF extensions
8 x Audiofocus C15a coaxial monitors
QUEST HPI110 and HPI25 loudspeakers
2 x QUEST QM4
2 x QUEST QM18SA
4 x QUEST QSA200i Active speakers
3 x Allen & Heath Avantis
Allen & Heath AHM Signal Processors & Stage Racks
Shure Axient Digital Wireless Microphone System
Shure UA series antenna system
LIGHTING
SX stage lighting system with Obsidian Control System
VIDEO
Lumens 30X optical PTZ cameras and joystick
Lumens recording, streaming, webcasting hardware
SAMSUNG P4.0 Active LED screen
AMX AV Control system.
www.suninfonet.net
www.soundxperts.com
SLX-D and SVX systems for the audience, anchors, performers, and main control.
All Shure systems are networked and can be checked and controlled through the Shure Wireless Workbench application. The system is designed to cover the entire facility, enabling easy communication between audience members and guest speakers during panel discussions, and allowing interaction between the stage and control rooms.
In addition to the wireless microphones, wired Shure CVG 18RS-B/C gooseneck mics have been installed at the podium. SM7B vocal microphones were supplied to enable studio quality recording of key performances and speeches.
Patna Women’s College has also invested in its inventory of microphones for musicians and performers, adding Shure Beta 91/A/C-X, SM57, SM58, PGDRUMKit7, MX 418D/C, MX393/C, SM81-LC, PSM 300, PGA57 and PGA58 to cater for all performance scenarios.
Shure UA844+SWB antenna distribution systems and UA874 active directional antennas have also been used to ensure strong, uninterrupted wireless signals.
“Today’s auditoriums go above and beyond to provide high-impact entertainment, from video, to music, to live performances, delivering an awe-inspiring experience,” concluded Warraich. “Our high-end range of audio products delivers full fidelity, full bandwidth sound, from the deepest lows to crystal-clear highs, over a range of programming, from announcements to music.
“In addition, we installed India’s largest P4 Samsung active LED screen at the Veronica Auditorium, with a super-wide viewing angle. It adds another star to the venue and allows multiple pieces of content to be shown at once.”
EMEA
Prolight + Sound returned to Messe Frankfurt for its customary four-day show, and while organisers boasted an increase in footfall on previous years, the feeling among many exhibitors and visitors on the show floor was one of ‘what might have been’, with many bemoaning a lack of opportunity for the audio community to showcase their products in action.
The lighting industry engaged with full force once again, with many taking the opportunity to put newly released products to the test and introduce them to the market. Cameo came to the show with a packed product offering, including its new IP65 moving heads from the OTOS Series, and the new, compact S2 IP LED Softlight Panel. Cameo has expanded its portfolio with the OTOS SP6 (Spot Profile) and OTOS B5 (Beam), two IP65 moving heads that are aimed at lighting designers and rental companies looking for tools for outdoor use, with the company referring to them as ‘the spearhead of Cameo’s technological development’. Robe showcased six new products ¬–iFORTE FS, iESPRITE, iPAINTE, iTetra2TM, iBeam350TM and FOOTSIE – while also highlighting the full networking capabilities of its RoboSpot follow spot system. The iSeries took centre stage during the scheduled performances on their stand which illustrated their waterproofness and durability in a multitude of environmental situations. Claypaky premiered four new products for the first time, with visitors to their stand getting a world-first look at Skylos, Arolla Aqua, Sharpy-X-Spot and Buddylight. In addition, four products were demonstrated at Prolight + Sound for the first time, including the popular Volero Wave, which was released late last year. ETC presented a selection of its newest entertainment fixtures and controls, including the next generation of its automated framing luminaires: High End Systems Halcyon, which was launched in November. Visitors to their booth also saw the new ColorSource V family, featuring both Spot and Fresnel fixtures. Elation brought a large team to their stand, putting the emphasis on building meaningful connections as it demonstrated its broad range of automated lighting, and interest was especially great for the KL CYC, a LED lighting solution for smooth and even cyclorama, set and wall washing applications. Also on display was its ‘hard to break but easy to use’ Magma Fog 1500 IP water-based fog machine. Ayrton revealed its most versatile new product at the show, the IP65 rated Rivale Profile, which weighs 28.5kg and features a high definition progressive CMY colour mixing system for a perfect reproduction of pastel colours. The fixture also comes factory equipped with a wheel of eight fixed gobos and a wheel of seven rotating gobos.
ADJ launched the Focus Spot 7Z, the latest addition to its Focus Series of LED-driven moving heads, which features an efficient 420W white LED engine, and CMY mixing to allow for a vast gamut of colours. The show also saw the European launch of the new Element H IP, a wireless IP-rated uplighting solution with four 20W 6-in-1 RGBAW+UV color mixing LEDs, onboard wireless DMX, an IP54 rated ‘weatherproof’ outer casing, and internal rechargeable battery. FANTEK introduced its latest safety innovation, LoadSense, a fully mechanical load detection system which is designed to keep users informed about the amount of load they are handling on their towers to avoid instances of overload.
The TK6244 tower is the first to be equipped with the LoadSense system, and is also the company’s first telescopic tower to meet all the requirements of the prEN17206-2 standard. AV Stumpfl presented its mobile unibody screen system Monolyte, the new Flex Black PRO projection screen surface and new features of the upcoming PIXERA version 2.0. Previously only available to customers in the USA, Monolyte was presented to the European market for the first time at the show, while the company also showcased Flex Black PRO, a projection surface offering a deep contrast to allow for sharp projected content. ArKaos launched its new VS4 media server at the show, which has been developed in keeping with the contemporary style of InMusic’s dynamic brand portfolio, offers four 4K outputs (or 16HD) and runs seamlessly with the latest ArKaos MediaMaster software. TAIT put their spotlight on products for automation, including a 2500kg capacity variablespeed chain hoist which is accompanied by a new 7.5kW variant of the Kinesys Pulse Drive, incorporating the TAIT Navigator Infinity Panel. Also on display was the epiQ console, and its integration with Kinesys variable-speed chain hoists was demonstrated by members of the team. L-Acoustics highlighted their audio solutions for locations that require discretion, including Soka, SB6i and SB10i subwoofers, and X4i. Soka was launched in 2022 and combines line source technology in a sleek unit, and can also be deployed with the SB10i subwoofer in an on-wall capacity. KV2 Audio presented its recently launched its slimline ESR106 and its dedicated ESR2600D amplifier based on KV2’s proprietary SLA technology, both of which made their debut at ISE; the powerful ESM312 stage monitor, and the latest addition to the ESD range, the ESD8. While the quality of the technology displayed across the show was evident for all to see, the lack of a fuller presence of the pro audio industry was noticeable. Will next year’s move to 19 - 22 March make a difference, time will tell. pls.messefrankfurt.com
1 The Robe team on their stand.
2 Eddie Short & Sebastian Mobers of ADJ.
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5 Ulrike Veit of Chainmaster.
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The Starway team on their stand. Solveig Busler of Schnick Schnack Systems. Megan Reiplinger, Sam Woodward, & Dave Weatherhead of TAIT. 7 The CHAUVET Professional team. 8 Jean Nguyen of Ayrton. 9 Benjamin Stocklöw of Smoke Factory. 10 Davide Barbetta of Claypaky. Tim Maier of Harmonic Design. 12 Romec Berendsen, Anne Wengenroth & Bengi Guven of Astersa.
ISCVEx 2023 was held at Coombe Abbey Hotel in Coventry, hosted by the Institute of Sound, Communications & Visual Engineers and featured two days of seminars, networking and exhibitions. The annual event is open to members and non-members, with events starting on the first day with an ISCVE Members’ Day and AGM.
Sonance demonstrated their in-wall and in-ceiling speaker solutions, including the Invisible Series which form part of the company’s “designed to disappear” strategy. The detail of the all-new Motion Flex Invisible Series was detailed by Adrian Ickeringill, International Director of Sales. RCF showcased products from their Installed Sound range while Sennheiser shone a light on its newest audio and connectivity solutions, including the newly launched TeamConnect Ceiling speakers for lager meeting rooms. Commercial Audio Solutions (CAS) were exhibiting having recently been announced as exclusive UK distributors for LD Systems installation portfolio. The distribution agreement with CAS initially covers the installation portfolio from LD Systems. However, according to Managing Director Brian Knott, “We are aiming to expand across a wider range of brands manufactured by the Adam Hall Group that suit the AV integrator.” NEXO highlighted their audio solutions for a variety of verticals including Houses of Worship, Stadiums and restaurants. Gareth Collyer, Sales and Marketing Director, NEXO, sits on the ISCVE council and was delighted with this year’s show. “It was another great show for ISCVE and it highlighted how the institute serves as a great support for the industry,” said Collyer. “This event offers the opportunity to meet directly with consultants to discuss projects, and we had visitors coming from as far away Scotland and Ireland. ISCVE has seen a recent up-take in younger members, with 60% of the current membership under the age of 30, so things are looking positive for the future.” iscve.org.uk
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Two busy Open Days at Martin Audio HQ featured product demos, networking and factory tours, with the star attraction being the first public demonstration of the company’s new range of point source loudspeakers – FlexPoint.
Martin Audio welcomed over 200 guests from around the world to their newly refurbished facility in High Wycombe, England, across two Open Days held on 18 and 19 April. The Martin Audio team gave a demonstration of their new premium point source series, FlexPoint, alongside its existing lines of pro audio products, and showcased the Unplugged Bug – which features a custom-made sound system that runs entirely off renewable energy.
“Sitting alongside Wavefront Precision optimised line arrays and TORUS constant curvature arrays, the FlexPoint series completes a trio of premium loudspeaker categories, giving us our most comprehensive live sound offering in the company’s history,” said Martin Audio Managing Director Dom Harter.
Comprising five models, the FlexPoint series covers a vast range of professional applications, from live sound reinforcement, theatre sound and corporate AV, to distributed sound systems and immersive environments. From the miniature FP4 to the powerful FP15, FlexPoint loudspeakers offer compact point source audio solutions in discreet boxes with highly flexible deployment options.
“The Open Days are a great opportunity to be able to showcase our products in relaxed circumstances,” said James King, Brand Marketing Director. “Attendees get to understand the products that we offer and learn about how they are designed, and then they get to listen to them. Everybody’s reaction to the FlexPoint demonstration was overwhelmingly positive.”
Product Support Engineer Robin Dibble said: “We’ve had incredible feedback from our customers, and, as is customary, it is the smaller
products that attract the most attention and that was again the case with the FP4 – it really knocked people’s socks off.”
Another development which was demonstrated was the Unplugged Bug, an environmentally friendly pop-up DJ booth housed in a trailer converted from a VW Campervan. Martin Audio teamed up with Belair Technology and The Bug Club to develop the concept, with the custombuild audio system running entirely on renewable energy thanks to Belair’s rack mounted Power Tower, a rechargeable device which is battery powered and negates the need for a noisy and polluting generator.
“My personal love for both VW campervans and DJ culture led inevitably to the door of the great people at The Bug Club,” said Harter. “At the same time I had been introduced to Belair Founder John Baillie, and his work on renewables, and it just all fitted into place. At Martin Audio, environmental sustainability is an important initiative, and this latest development will help explore new possibilities for us in the future.”
With distribution companies attending from across Europe, including Rock Centrum in Slovakia and Ampco Flashlight in the Netherlands, the Open Days also saw demonstrations from Martin Audio’s sister brands Optimal Audio, Linea Research and Focusrite Pro, and opportunities to meet representatives. Optimal Audio showcased its streamlined portfolio of commercial audio solutions, including the latest version of WebApp, the cross-platform control app which allows installers to tailor the audio system from full EQ and signal processing to setting up schedules and presets. Linea Research presented its range of amplifiers and processors for live sound and installation, having recently become recipients of the King’s Award for Innovation.
The next Martin Audio Open Days are set to take place in September, with the dates to be confirmed.
www.martinaudio.com
Left: Martin Audio Managing Director Dominic Harter demonstrates the new FlexPoint series. Top: Robin Dibble delivers the Optimal Audio Demo.▶ PERFECT WHITES
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Based in Mettingen in the northwest of Germany, HOF celebrated its 25th anniversary in 2022. Here, Co-CEO and Head of R&D Dennis Klostermann looks back on sustained growth, the development of turnkey solutions and reflects on why apprenticeships will remain an important part of the company’s story.
HOF was founded in 1997 by Hans-Wilhelm Flegel, who built the company on the founding principle: ‘The crazier the idea, the better – there is no idea that cannot be implemented’.
The company has remained true to this in the intervening 25 years and it continues to live by the mantra of not doing things by halves – an ethos that has contributed towards it being entrusted with technically challenging and demanding projects regularly.
“Trusses for event technology, as well as special construction made of aluminium and steel, still represent our core business,” explained Dennis Klostermann, Co-CEO and Head of R&D. “In parallel to this, we have established ourselves over the past two-and-a-half decades as a reliable partner for industry clients from the food, automotive and agricultural sectors in the fields of special constructions and contract welding.”
Today, HOF is a full-service provider and, in addition to sales, covers design, structural engineering and production with an in-house team. This guarantees fast development and execution of projects and flexibility. The company also carries out turnkey assembly work on request.
Having started with a team of four, the HOF team has grown to its current level of more than 50. The early beginnings consisted of four welders and a single technician, however as the business model often required special or one-off constructions, the
team soon started growing, and as a result started to win big contracts in the entertainment and live events sector, such as the production of the stage for the tour of German singer Marius Müller-Westernhagen in 1999, which at the time was extremely sophisticated.
In the field of special constructions, HOF developed, designed, manufactured and installed the substructures for a new video wall in Bayern Munich’s stadium, for Europe’s largest video cube in the stadium of FC Schalke 04, and the Meta Cube Stage for KARPE inside the Oslo Spektrum arena.
The company’s latest development is the MLT THREE Pre Rig Truss, launched earlier this year, which follows the MLT TWO, launched in 2019.
“Our philosophy is to work very closely with our customers, and to listen carefully to their and the industry’s needs,” said Klostermann. “This is why we launched the MLT TWO in 2019. We have had the MLT ONE, MLT ZERO and MLT FRAME Pre Rig Trusses in our portfolio for many years, but through the work with our customers, we learned that there was a need for a new generation of Pre Rig Truss – which is why we created the MLT TWO.”
The MLT TWO features rotatable forks, which enables users to create vertical or horizontal circles, allowing them to create
new stage layouts. Alongside this, a new dolly was developed to enable easier handling for a single person, which was important as during the pandemic a lot of staff left the industry, leaving venues with fewer pairs of hands to work. The fact that the dolly is stackable enables a space-saving solution during transportation and at venues.
Now, with the MLT THREE, HOF has completed the MLT Series and offers a Pre Rig Truss solution that has no closed head frame and is open at the bottom. This allows the user to mount moving lights – like in the MLT TWO – and also video modules.
“The MLT THREE, TWO and ONE are fully compatible,” explained Klostermann. “Furthermore, the MLT THREE offers an optional rail system, which makes mounting the units in the truss even easier. The rail system is a double rail system, which means that the units can be hung on two different levels, and no lowering device is required. The rail system also allows the mounting of the lighting equipment at the transitions between two trusses, to create seamless transitions between video modules in the trusses.”
The R&D department at HOF consists of a team of five, and is, according to Klostermann: “A multi-functional team consisting of people with engineering, technical, production and also sales backgrounds, to ensure the best possible result.
“An integral part of our R&D and product development work consists of close collaboration with our customers during this process, in order to ensure their feedback is implemented as we generate great insights via our customers,” continued Klostermann.
Once a prototype product is ready, HOF enters its ‘critical sales round table’ phase, where the prototype is tested in every single detail, its operability is discussed, and further improvements are made if required.
“From the kick-off until the prototype is ready, it takes about one year to develop,” said Klostermann. “In the initial steps, we collect lots of input, feedback and ideas from our customers, because in the end, we design our products for them to use, and we want to ensure they get the best possible solution offered from HOF.”
Once the prototype is ready and has passed all the internal checks, it is presented to key customers to get their input.
“Our development process does not stop here,” explained Klostermann. “Once the new pre rig truss, or any other product, is on the market, we continue to assess the evolving needs of the market and consistently keep on improving the products. This is because we believe that standing still is effectively taking a step backwards, and so we are always striving to improve and innovate.”
One particular area of importance for HOF is the retention and development of staff, which is why the company offers apprenticeships.
“As with many countries across Europe, we in Germany are facing a shortage of skilled workers; the baby boomer generation is starting to retire and there are not enough people to fill all of the positions,” said Klostermann.
“Offering young people apprenticeship positions at HOF is one solution for us to train and educate new skilled staff.
“Also, we have the privilege of working in a very special industry where – once people are in – many of them stay as they become passionate about our industry. We have seen this develop over time. Many of our former apprentices are still part of the team at HOF because they fell in love with the industry and share the passion that we all have for it.”
“Some of our former apprentices are now heads of departments. We think this is a great success story and shows the importance of developing new talents from the start of their career.”
Above: The stage built for the Westernhagen Tour in 1999. Left: The ‘flying’ stage for KARPE at the Spektrum Arena, Oslo, in 2017.
THE MLT SERIES. ENGINEERED IN GERMANY.
What separates the real world from the virtual is the way in which the former environment engages all five of our senses. While audiovisual technologies are able to deliver a decent approximation of an immersive experience – one in which participants are truly absorbed, to the extent that they forget they’re visiting an attraction or experiencing a simulation – the sense of realism presented by video and sound alone can only go so far.
Derived from the Greek háptō (“to touch”), the word “haptic” literally means anything relating to the sense of touch. In the entertainment industry, however, haptics refers specifically to technology that enhances the visitor experience by engaging an additional sense – touch – to boost immersion and engagement, letting users feel the simulated world around them.
Along with virtual (VR) and augmented reality (AR), spatial computing, and blockchain technology, experts suggest haptic feedback will be key to the creation of the Metaverse, the hypothesised virtual world – hailed as the future of the internet – where billions of people are expected to live, work, shop, learn and interact with each other.
Although the Metaverse remains difficult to define, it has already attracted significant investment from both established technology companies and start-ups. According to a report by McKinsey & Company, investment into the Metaverse space was worth more than US$121bn in 2022 – more than double what it was in 2021 – and by 2030, the value of the Metaverse could reach $5tn.
In its most basic form, the Metaverse offers two main features: a sense of immersion and real-time interactivity, both of which contribute to the adoption and growth of haptic technology. By simulating the sense of touch, haptic feedback allows users to feel physical sensations within virtual environments, enhancing the overall experience and enriching interactions with objects, users, and the environment.
The video game industry, for instance, has found the Metaverse an unprecedented opportunity to create highly engaging games that leverage VR, AR and other technologies, to deliver unique and captivating experiences to users. On the other hand, gamers have become increasingly sophisticated and demanding, and traditional 2D games are no longer enough to satisfy their appetite for immersive gameplay. As gaming journalist Gemma Ryles explains, haptics is used by game developers to simulate what it would feel like to interact with something in real life – for example, the haptic feedback in a game controller “may feel more subtle or more delicate if your character is running around in the rain, but feel more intense when firing a gun in a first-person shooter.”
By enabling visitors to feel the live experience, haptic technology is blurring the boundaries between the virtual and real worlds. Powersoft’s Global Corporate and Marketing Communication Manager, Francesco Fanicchi, explains how...
In addition to controllers featuring haptic feedback, gamers can buy shakers/haptic transducers for gaming chairs, providing a fully immersive experience by bringing them into the heart of their favourite game. For the haptic feedback to be effective, it must be delivered in real-time, responding to the user’s actions and movements in the virtual world. This requires a high degree of synchronisation between the content and the haptic feedback system.
In virtual environments, haptic feedback provides participants with a more convincing, realistic experience by engaging the senses beyond visual and audio stimulation – the greater the sensation, the deeper the immersion. However, the applications of haptic technology are not limited to the digital realm, and haptic feedback is increasingly finding a home in the pro-AV industry, where integrators are taking advantage of the technology to usher in a new age of immersive experiences that blur the line between virtual worlds and everyday reality.
In combination with video, audio, and emerging olfactory (scent) and gustatory (taste) technologies, haptics makes possible the ‘holy grail’ of immersive experiences: the engagement of all five senses. Such a multi-sensory experience is at the core of Illuminarium, a state-of-the-art, reprogrammable cinematic theatre concept with locations in Atlanta and Las Vegas, which features a haptic infrasound floor by Powersoft.
Powersoft’s haptic solution, our compact transducer, Mover, has been used in a wide variety of ‘real-world’ applications, including in-person immersive experiences, gaming chairs, and cinema seats – as well as under the floors in entertainment venues, and clubs where it is used as a sub-harmonic frequency extension, to replace the number of subwoofers needed in a space.
The product of Ideofarm – our internal incubator, which allows Powersoft engineers, designers and potential new employees to develop new and disruptive ideas – there are several reasons why Mover is well-suited to immersive applications, making it the ideal choice for AV professionals and installers looking to integrate a low-frequency haptic transducer in their products and solutions:
• Limiting low-frequency noise pollution – Mover can extend the low-end capabilities of a system while adhering to noise limitation requirements
• Adding granular haptic feedback – Mover can be implemented to faithfully track audio and video content in a space, allowing segmentation of haptic effects in different areas in the same project
• Increasing the longevity of solutions – Thanks to its sturdy construction and the inherent reliability of moving-magnet technology, Mover requires virtually no maintenance and can be trusted in missioncritical applications
• Delivering high dynamic range – Mover’s extended dynamic range allows outstanding levels of detail, from very low signals to explosionlevel effects
• Increasing solution efficiency – Taking full advantage of Class D amplification, Mover delivers outstanding levels of efficiency and can reduce energy consumption by a factor of ten
Driven by Powersoft’s ultra-low-frequency moving-magnet linear motor technology, Mover has become known for its reliability and durability. Rigorous testing has shown Mover has a lifecycle that lasts close to a decade. It also offers extended power handling, electromagnetic conversion, high reliability and maximum SPL when compared to conventional moving-coil products.
Illuminarium Atlanta represented the largest Mover install to date, with more than 162 individual haptic feedback transducers paired with 12 Powersoft Quattrocanali 4804D amplifiers to generate the ultra-low frequencies needed for a realistic recreation of, for example, coming face to face with an elephant, or walking on the moon.
According to Brian Allen, Illuminarium’s EVP of technology and content, Mover’s ability to provide bespoke and localised haptic feedback across dedicated zones is one of the most important aspects of the Illuminarium experience, particularly when synchronised with audio from the spatial sound system.
“Haptic feedback, when localised and synced to picture, produces an effect to the audience that differs from other LFE [low-frequency effects] or audio sources. I find that it tends to be the one feature that really pushes the experience over the top,” he explained. “It grounds the audience in the experience we are showcasing at that moment and makes it real.”
In other words, haptics is the main element delivering true immersivity. The audience can see, then hear, a herd of elephants approaching – but adding vibrations in the floor is what makes them jump out of the way. Designed to reproduce sound through haptic perception – the body’s capability to feel low-end frequencies through bone conduction – Mover can be used in moving floors, seats and rides to transfer audible and inaudible frequencies to the human body. Its earth-shaking vibrations add another dimension to cinemas, entertainment venues and visitor attractions.
The growing interest in creating solutions for immersive experiences is demonstrated by the many partnerships Powersoft has signed with companies dedicated to enhancing the overall customer experience. They include Strong MDI Screens, which manufactures high-end projection screens for cinema and pro AV, and sister company Strong Technical Services (STS), which are making use of Mover to develop an immersive, modular shaking floor system; Irwin Seating Company, whose seats are in thousands of cinemas in North America, which is utilising Mover’s haptic feedback capabilities for immersive environments; and VIP Luxury Seating, 1m+ of whose American-made seating is installed in theatres worldwide, which demonstrated at CinemaCon how Mover is integrated into its cinema seats. With visitor expectations at an all-time high, haptic feedback represents an exciting way of elevating the audience experience by allowing them to feel part of, and participate, in an exhibition, visitor attraction, club night or film screening. As development of the Metaverse continues, haptics is already pushing the boundaries of what’s possible in ‘our’ world.
AS PRO AUDIO DISTRIBUTOR EQUAPHON CELEBRATES 50 YEARS OF OPERATION IN 2023, GENERAL MANAGER AND FOUNDER CARLOS MAIOCCHI LOOKS BACK ON SOME KEY MILESTONES AT THE COMPANY, AND HOW THE COVID-19 PANDEMIC CAUSED IT TO DIVERSIFY AND EXPAND INTO DIFFERENT MARKETS.
“Like many companies, EQUAPHON started in a garage in my father’s house with the dream of becoming a big-name in the market,” explained the company’s General Manager and Founder, Carlos Maiocchi. “I was an electronic engineering student in Buenos Aires at that time, and I began designing and manufacturing loudspeaker systems for home use.”
After a few years, Maiocchi expanded into the realm of professional audio and began to manufacture amplifiers, DJ mixers, analogue processors, turntables and speaker systems for use in professional situations. “Our knowledge and expertise grew steadily over time, and in 1989 we completed our first installation in a nightclub, Rocket, in Bariloche in the south of Argentina, which was fully equipped with products designed and manufactured by EQUAPHON,” he recalled. This first install came four years after the appointment of Rubén Branca, who is currently the company’s Managing Director, and business partner of Maiocchi.
“We have built a very strong company, mainly because we have shown high levels of professionalism and credibility in the market,” said Maiocchi. “In the 1990s, we started to represent international brands, the first of which was amplifier manufacturer BGW, from the USA, in 1992. Then in 1997 we took on B&C Speakers, and with these additions our speaker systems made an important leap in quality. We also stopped using locally manufactured loudspeakers and drivers and only used these products from Italy.”
EQUAPHON’s links to Italian products was enhanced in 2003, the year of the company’s 30th anniversary, when the company became an official distributer of Powersoft.
“We approached Powersoft because we knew that its technology was the one that would prevail in the world of professional audio – and we were not wrong,” Maiocchi reflected.
EQUAPHON has partnered with a select group of manufacturers to offer a full range of solutions, including DPA Microphones, DiGiCo and Genelec. “We have always tried to represent leading brands in their own segment, which in turn do not compete with each other and are innovative in what they do,” continued Maiocchi. “We now offer an excellent portfolio of undisputed brands in each market. We never aimed to have ‘commercially easy-to-sell’ brands. They have become the benchmark in each specific market over the time due to their quality and excellence.”
The EQUAPHON leadership team took an important step during the pandemic when a core element of the business – supplying equipment to the live
events market – dried up. This allowed the company to explore other markets, such as permanent install, music production and broadcast.
“Live sound is very important to us, and brands like Powersoft, DiGiCo and Sound Touring Series have specific products for this segment, so it occupies a significant part of our billing,” admitted Maiocchi.
“When the pandemic started, this market was one that stopped, and we realised that it was going to be the last to return to action.
“Instead of treating this as a threat, we took it as an opportunity, as it allowed us to dedicate ourselves fully to the other markets that we were trying to reach. In those two years that the pandemic impacted live shows, we grew those other three markets, and now our total turnover is higher than before the pandemic as a result.”
In addition to being a supplier of global brands, EQUAPHON manufactures its own loudspeaker systems – Sound Touring Series (STS) – which includes active and passive live sound solutions and passive products for installations.
“We are designing new models constantly, and this year we will launch a product that can be used both for installation and live sound applications, using the same technology in our mikra installation columns series from 2015,” said Maiocchi. One key element to the development of this new line has been communicating with the installation market to ensure that any innovations provide the correct solutions and help integration companies and installers in a wide cross section of projects.
“We have participated in many projects in our 50 years,” confirmed Maiocchi. “Since we installed the audio system for that nightclub in 1989, we have also completed important installations across Argentina, and as far away as Montevideo and Punta del Este in Uruguay.”
The EQUAPHON team is currently working on a loudspeaker system installation for a room in a theatre complex in Mar del Plata, Buenos Aires, as well as another loudspeaker system install at Grisu, which is the oldest music venue in the city. “We will continue to provide advice so projects can be delivered within budget and be maximised in terms of quality of product and end result,” concluded Maiocchi. “With regard to the brands we represent, we will continue to provide support and guarantee the best technical service that can be given. And we must thank all the friends, colleagues and professionals who have accompanied us along this journey. Everyone’s support and contribution has been a great assistance to us in successfully reaching five decades of operation – Happy 50th anniversary, EQUAPHON!” www.equaphon.net
www.tagmix.me
The TagMix technology platform automatically syncs live performance pro-audio with user-generated video clips to create great sounding, highly sharable social content in real time. This means that fans, bands, their PRs, venues, festivals and labels can instantly share videos from their events with TagMix high-quality audio.
Having been painstakingly developed since its soft-launch in a betatesting format in early 2019, and years of hard work producing its now patented technology, TagMix officially launched earlier this year during Independent Venues Week in the UK.
Disgruntled at the steady stream of footage from live events with poor quality audio recorded from a handheld device’s mic, Andy Dean took it upon himself to create a platform which synchronises the live professional audio output with footage recorded at an event shared with a wider audience, to amplify the live experience.
Having witnessed first-hand as a festival promoter in Ibiza how quickly fans shared their own footage, often with “terrible audio”, before the festival’s team could put together their own approved content, Dean decided to take on the challenge – and the initial stages of TagMix was born.
“Having been involved in live shows for a number of years, for me, it is fundamentally important that the artist is represented accurately - and this is what we strive to achieve with TagMix,” he said.
“First, we had to come up with the idea of how it would work, and in the development process there was a lot of trial and error, and it was harder than we thought. However, we succeeded and have a US Patent for the technology that we developed.”
For a performance to be ‘Tagmixed’ a TagMix console needs to be plugged into the mixing desk on site, and connected to the internet. A stream begins sending audio to the TagMix server from the console automatically, as soon as it starts to receive an audio signal from the desk, and when the event finishes the stream stops.
As the audio arrives to the TagMix servers, the patented technology, with its fingerprinting matching and synchronising algorithms, analyses the audio waveform and makes it available to be matched against. When a video clip is received to the server, the same technology syncs the two bits of media – video and audio – together.
“The easiest way to use TagMix is through the TagMix app,” said Dean. “It is one button to film the footage and it’s automatically uploaded. Then, when the processing is done the user is notified and the footage with the new audio is ready.”
To give the footage an element of personalisation, a degree of ambience
from the device’s original audio is blended with the pro-audio from the desk, with somewhere between 15% – 30% of the original audio used.
“The main difference with the pro audio is the frequency range, there is no comparison with what a phone’s mic can pick up because you get the full dynamic range from the desk’s output,” said Dean.
TagMix can be set up permanently at venues and used by touring productions or a festival, where one TagMix unit set-up for each stage can cover all of the performances.
TagMix is currently permanently installed in around twenty venues across the UK, including Outernet in London, where the opportunity to TagMix performances is available in both the 2000-capacity HERE room and the smaller 200-capacity Lower Third room.
In addition, TagMix technology was used in five venues during 2023 Independent Venue Week, which yielded a significant amplification in online engagement. Post event analysis reported that all five venues, along with 20 of the 28 artists, posted and shared TagMix clips of their live performances on their social media channels, creating an audience uplift of 317%.
“Each device has a unique identifier, and we speak to it via IP to set it up during the initial install – whether that is a venue, a tour, or a stage,” said Dean. “When each device is online it then asks a question of our metadata services of who is performing. And with that it can pull in all of the metadata around that performer, which can include a link to their website, merchandise or Linktree, so we can communicate with URLs and links. This helps build out the eco-system of music discovery. And the more it gets shared the more people can get to hear it.”
For a piece of video content to be ‘TagMixed’ it needs to be at least 15 seconds long and have audio, as that gives the technology enough information to sync the footage to the pro-audio.
“We believe in this product so much that we offer a venue a one month trial, because we know the benefit and we have seen the uplift in social media engagement,” said Dean. “Good sound matters to people and everyone works so hard to put on live music events, the biggest crying shame is that the representation that most people see and hear first is not a good one. So we’re here to fix that!
“We want venues to feel like TagMix is a badge of honour, where you can get a good sound recording to go with the footage you take, and share those memories,” continued Dean. “In a way you can amplify what went on that night in that venue and let the world know about it in a representative way - which is good for the artist too. This is less about the big ‘I Am’ and more about the big ‘We Are’, and sharing the love. Our next phase will be to roll this out for audiences.”
With the goal of enhancing the user-generated content from live events, TagMix launched in 2023 with a mission of syncing video with the pro-audio output from the mixing desk. TagMix founder Andy Dean talks us through the process of developing TagMix, as the service begins to roll out across venues and festivals in the UK and beyond.
The Shark is a versatile and innovative clamp designed for a quick and easy installation of your equipment onto keder profiles of all sizes. This tent clamp is particularly handy for creating a hanging point on tent profiles, where no other attachment is possible. With its weight load limit of 200kg, this TÜV certified tent clamp ensures a secure and reliable installation of equipment, even for heavier loads such as hoists and trusses. The Shark accommodates beams from 50mm up to 125mm and it can be quickly adjusted for different widths due to the spring-loaded clamp. This guarantees a quick and easy installation, unlike conventional tent clamps which require extra adjustment steps to fit different beam widths. Thanks to its design, the Shark clamp also ensures the load always hangs centrally regardless of the width of the profile used. www.admiralstaging.com
FENIX Stage, manufacturer of lifting towers, trusses, roofs, and stage platforms, continues with its high pace of innovation creating the new truss tower for line arrays. The PACQ-1000 has been designed with safety and ease of assembly in mind, with a single motor that can lift the structure and load, an innovation that provides a compact and unitary transport and assembly that will avoid the loss of parts and save assembly time for operators. Thanks to the high level of safety offered by this tower, it can be assembled by a single operator. With a working area of 3.23m by 3.55m, this tower can be compacted into an enclosed area of 0.83 by 1.67m, making it perfect for easy storage and transport without loss of parts. Maximum height is 8m and maximum load is 1,000kg. Manufactured with a reinforced steel base with removable legs, 40 by 40 reinforced trusses, and front braces that give greater stability and resistance to the tower. The best companion for large loads at great heights, the PACQ-1000.
www.fenixstage.com
FANTEK’s TK6422M tower is the first to be equipped with the revolutionary LoadSense system and is also the first telescopic tower to meet all the requirements of the prEN 17206-2 standard. This regulation establishes the need for an overload warning system in lifting towers, a key requirement that the TK6422M tower meets thanks to the LoadSense system. LoadSense, is a fully mechanical load detection system. Designed to keep users informed about the amount of load they are handling on their towers, LoadSense promises to significantly reduce instances of overload, a common problem in the industry. LoadSense has been developed and patented by FANTEK’s engineering team, standing out as a completely mechanical system that does not require electronic components. This unique feature ensures that LoadSense is available for use 100% of the time, eliminating any potential electronic failure that could compromise the prevention and safety function for which it has been designed.
www.fantek.es
The new TM500 motorised stage deck by GUIL is an electrically powered platform that can lift 250kg up to 150cm. Raise a singer or guitarist above the rest of the group, elevate an actress for an important speech, unique moments can be created with the TM500. Since being founded in 1983, GUIL has developed many original products for the events world, among them the five different models of stage deck that they manufacture. The TM500, with its wireless remote control, features an option of chosing how high the stage can be raised, while offering a safe and stable surface for actors, musicians and other professionals to work on. The TM500 comes equipped with 150mm wheels for transport, and four legs for when it is in use. A strong, reliable platform, the ease of an electric motor to lift it and a way to make every function original and striking, the TM500 is the complete package for any events organiser.
www.guil.es
In the few years since OutBoard released its RCX SMART Remote digital control as an option for the company’s all new LV6x / 8x / 12x and DV8x controllers, the system has proven itself unilaterally popular amongst rigging professionals, in touring, venue, event, sport, film and TV sectors worldwide. As a bonus for long-term, existing OutBoard customers, RCX also retrofits to ALL earlier LV6/8/12 and DV8 Controller models already out there. The system puts quick and simple multichannel control, non-volatile reversible memories and load-cell system feedback capability right into the hands of the rigger. RCX SMART Remotes come in 16, 32, and 64 channel versions. The RCX’s ethercon daisy-chain between racks also delivers Broadweigh server load-cell threshold warnings straight up the same link onto the RCX SMART Remote, to give riggers an instant visual and audible warning of overload or underload status. All this comes in a compact robust package with intuitive operation and simple learning curve, which are both a major part of the RCX system’s appeal.
www.outboard.co.uk
The multi-patented TAIT Mag Deck System sets the standard in elevated platforms. Not only do crews love it, due to deployment being considerably faster than other stage systems, but supports can be assembled without specialised tools, and it is physically less strenuous to work with. Combining these benefits reduces show setup and load-out labour, both in terms of the number of people and the time to construct it, thereby achieving considerable cost reductions. Mag Deck also packs into trucks more efficiently, reducing the number of vehicles required to tour each show, ensuring that this is a smart choice for budget and sustainability-conscious show producers. Some of these benefits are achieved thanks to the unique magnetic alignment system after which Mag Deck is named, along with a plethora of other patented enhancements. The system has a wide range of leg options, for both rolling or static stages, and accessories to create ramps, revolves, runways, and rails. The humble stage is the result of decades of innovation, and is the bedrock of the show. www.taittowers.com
The MLT THREE has joined the MLT ONE and MLT TWO Pre Rig Trusses to complete the MLT Series, which now consists of the MLT THREE, MLT TWO, MLT ONE, MLT ZERO and MLT FRAME. The MLT THREE has no closed head frame and is open at the bottom, making it easier to mount moving lights or video modules in the truss. In addition, the dolly of the MLT THREE Pre Rig Truss has extended telescopic legs that allow the user to mount complete video modules, including the hanging frame, in the truss and leave them in the truss during transportation. A rail system which makes mounting the units in the truss even easier is available as an option for the MLT THREE, while the rail system is a double rail system. This means that the units can be hung on two different levels and no lowering device is required. The rail system also allows the user to mount lighting equipment at the transitions between two trusses, and to create seamless transitions between video modules in the trusses.
www.h-of.de
Stagemaker SR motor provides an innovative design, compact style, and ergonomic features that provide an easier installation and quieter operation. From set up to show time, the Stagemaker SR motor brings a world-class performance. During set-up, the motor configuration can be switched easily from body up to body down, simply by reversing over the chain bag. The SR motor is designed with comfort in mind and the addition of retractable, rubber-clad handgrips makes for easy transportation and handling. Riggers no longer need to worry about pinched fingers and accidentally dropping the equipment when lifting the motor from the flight case. SR motors and accessories meet today’s demanding market requirements and lead the way to the future. www.us.stagemaker.com
The TE-071 is VMB’s best-selling top loader with a large steel base for greater stability. The tower can be pushed into a van or truck by pre-assembling the RH-1 transport accessory. It is capable of lifting 220kg to 5.35m, has four large stabilisers with non-slip rubber plates and a spirit level for accurate levelling. It is composed of four steel profiles with high-resistant, anti-torsion steel cable and is guided through reinforced pulleys. Safety is always the strong point of VMB and this lifter incorporates the patented automatic ALS locks, which prevent the TE-071 lift from falling in the unlikely event of cable breaking. A wide range of accessories are available.
www.prolifts.es
Booth 5669
Demo Room W221A
Powerful, long throw point source with a max SPL of 145 dB.
3-way, passive loudspeaker combining two 12-inch low-frequency drivers and a coaxial 4-inch + 2-inch mid-high compression driver in a horn-loaded enclosure. Delivers a controlled 100° x 50° dispersion maintaining constant directivity down to 200 Hz, with a bass response down to 55 Hz.
Removable magnetic grille, with various rigging accessories. IP55 rated and salt water resistant, with stainless steel 316 accessories available. www.1-sound.com/
Alcons
QRP40 & QB363
Booth 5587
Demo Room W230C
Point-source column with high-Q directivity for increased projection control RBN1203 pro-ribbon HF driver with exceptional intelligibility and “throw” (QRP40) 1:1 non-compressed linear sound reproduction, with up to 90% less distortion (QRP40)
Tight triple 12” driver arrangement for optimal array coupling (QB363) All Neodymium drivers for excellent performance-to- weight ratio www.alconsaudio.com/qr-series/
Booth 5371
• New beyma compression drivers, a milestone for sound system design covering multiple sonic nuances and characteristics.
• Two brand new patent pending technologies: DEPLOCEX and VPEQ.
• More SPL, more linearity, better transient response and incredibly small power compression.
• Four voice coil sizes, 1” and 1,4” throat diameters available in both ferrite and neodimium.
• Diaphragms available in Titanium, High Temperature Polymer and Advanced Polyester. www.beymaamerica.com
Booth 3109
We can’t wait to welcome you to our booth at InfoComm Orlando! Meet Sennheiser’s industry-leading TeamConnect Familyyour agnostic conferencing portfolio with state-of-the-art technology for every room size and setup.
Our TeamConnect Family is Growing - the newest member of this growing product family will be announced at the show.
Unveiled at ISE 2023, the latest addition to our TeamConnect Ceiling Solutions, TeamConnect Ceiling Medium, will also be showcased. Sennheiser’s presence at InfoComm is not only about product information, technology showcases and demos, but also about networking and reconnecting with industry friends and colleagues.
https://en-us.sennheiser.com/infocomm
Booth 821
• British patented award-winning ZEUS technology.
• Reduces LED screen carbon footprint and operating costs.
• Enhances environmental and sustainable credentials with verifiable data.
• Simplifies installation and increases control over screen power.
• Also on display digiLED QUANTUM next generation LED screen processing. www.digiled.com
Booth 3842
Meeting Room W209C
• As the InfoComm Supporting Show Partner, Shure is thrilled to showcase new conferencing initiatives at two spaces around the show; Booth #3842 and meeting room W209C.
• Booth #3842 will feature products and demos from the Microflex Ecosystem and Stem Ecosystem occurring all day throughout InfoComm.
• Meeting room W209C will feature collaborative solutions with our industry partners and technical discussions with Shure experts.
• Chris Lyons, Global Marketing at Shure, will lead a session on June 14th titled “Real Users Report on How Software DSP Simplifies AV.” Real IntelliMix Room Software DSP users will participate as panelists to discuss why they chose IntelliMix Room, the types of rooms involved, host computer platforms, and how their organizations have benefitted.
• Vanessa Jensen, Market Development at Shure, will lead a session on June 14th titled “Shure Reveals the Fastest Way to Better Sound.” The session will introduce a new solution developed by Shure that provides clear, consistent sound quality for everyone in the room, which is even easier to install than traditional approaches. www.shure.com/en-US/conferencing-meetings/infocomm
tvONE
Booth 2901
• Hippotizer Nevis+ Media Server includes all Hippotizer software features.
• Designed to provide a smaller, inexpensive solution for video creation, visualisation and playback.
• 1 x DisplayPort 1.2 output with EDID Management (Supports splitters).
• 2 x Network Ports (HippoNet and NDI for capture).
• 1/2 RU with flexible mounting solutions – rack mount or VESA mount. www.green-hippo.com
Genelec recently expanded its Smart IP family of networked loudspeaker systems with the introduction of the 4435A in-ceiling and 4436A pendant models. The two new additions join the existing 4410, 4420 and 4430 on-wall Smart IP models to provide an even wider range of loudspeaker solutions – packing all the convenience, ease of installation and scalability of Smart IP’s single-cable networked technology into two popular new form factors.
Originally launched in 2019, the Smart IP loudspeaker range provides flexible power, audio and management features via a standard CAT cable. Producing studio-quality audio with superb clarity, intelligibility and uniform coverage, all models can be freely combined on a network, and are compatible with both Dante and AES67 streams, deriving power via PoE or PoE+ Power-over-Ethernet formats.
As well as receiving both power and audio-over-IP, the 4435A and 4436A both feature a rear panel RJ45 connector which allows access to Genelec’s Smart IP Manager – a sophisticated downloadable software tool that allows installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and status monitoring. A public API command set allows easy integration with third party automation systems, or for less complex Smart IP systems, Genelec’s intuitive Smart IP Controller mobile app can be used to provide the end user with basic control of key loudspeaker functions. Both models share identical acoustic and electronic specifications, and feature proprietary internal power supply technology that stores power in order to produce an impressive 104dB of short term SPL whenever needed. With support for uncompressed low-latency audio with loudspeaker synchronisation to sub-microsecond level for solid acoustic imaging, both models deliver a frequency response of 55 Hz – 39 kHz via two independent internal 50 W Class D amplification stages – which
drive a 130 mm (5 1/8-inch) woofer and 19 mm (3/4-inch) metal dome tweeter. This active design provides both optimum audio performance and removes the need for bulky racks of external amplifiers and their associated cabling. Alongside the support for IP audio streams, analogue connectivity is also supported via a Euroblock connector – which can be used either as a failsafe backup, or to enable IP control of an analogue source.
Created in conjunction with leading industrial designer Harri Koskinen, the 4436A is Genelec’s very first pendant model, while the ultra-discreet 4435A supersedes the well-established AIC25 analogue-only in-ceiling model. Fashioned from durable steel, both new models can be ordered in a variety of finishes: black or white for the 4436A, while the 4435A can be ordered with circular or square magnetic grilles, which come with a choice of black or white colour schemes.
Built to the highest environmental standards in Iisalmi, Finland, the 4435A and 4436A are designed to be seamlessly integrated with any combination of Smart IP models, providing decades of reliable performance in even the most challenging environments. Backed up by Genelec’s well-earned reputation for unrivalled technical support, Smart IP loudspeaker solutions are a secure long term investment for any AV installation project.
Genelec AV Business Manager Kati Pajukallio commented: “The addition of the new ceiling and pendant models makes Smart IP an even more flexible solution, suiting an even wider and more diverse range of installations. The growing number of Smart IP loudspeaker solutions being deployed in prestigious projects all over the world has clearly shown that networked loudspeakers are the future of installed audio, and we feel sure that the AV world will warmly welcome Smart IP loudspeaker technology in these new form-factors.”
www.genelec.com/smart-ip
The latest addition to the beam projectors range, Baracca 360 has a 260W laser source. Thanks to its 130mm lens, Baracca 360 provides an illumination of 159,000 lux at 20m for an aperture of 1.7° and produces an extremely present beam in space. Baracca 360 incorporates a CMY trichromatic color system, a 17 colors wheel, a 19 fixed gobos wheel, 2 combinable prisms and a frost. Its infinite Pan/Tilt movements supported by CK EFFECT technology will allow you to achieve complex and original effects in unparalleled speed.
Tenore and Soprano enter the DTS portfolio as the unconventional evolution to the conventional series of static LED lights, to complete the range of spot and ellipsoidal projectors. Engineered and developed in Italy, both series come in two different power rating and five source variants. The power rating is identified by number 3 (Tenore 3 and Soprano 3) include 145W and 190W fixture; the rating 5 include 260W and 390W ones. The two ranges come equipped with white LEDs (warm, neutral, and cold), HDW tunable white source, and HQS source (fitted with six-colour LED), so both ranges offer maximum brightness or maximum colour fidelity.
The Tenore line’s spot/flood fixtures can be equipped with a Fresnel lens or an anti-halo (PC) lens, with either a diameter of 130 mm or a 150/175 mm, based on their power. The Soprano series, which is a new generation of DTS ellipsoidal projectors, comes with interchangeable optics.
Pure white sources offer 3000K for warm white and 5700K for daylight, with a CRI and TLCI always over 90. Bright and beautifully smooth, their projection can reach up to 16.000 lumens on the Tenore 5 WH. There is also a tunable white version, the HDW series, with 1800K to 10000K CCT curve.
When strong and bright colors are needed, without compromising on pure white quality projection, the HQS series of both Tenore and Soprano bring back the superior light quality and color and white management previously seen in the Alchemy series.
Tenore 3 and 5 boast a Fresnel lens offering a wide zoom range of 13° to 69°, depending on their LED source, while optional 4- or 8leaf barndoors are available.
Alternatively, the Soprano 3 and 5 sport a universal zoom barrel that can be applied to any LED source. Their zoom range comes in two options, 15°- 30° and 25°- 50°, with iris and gobos that can be applied, whereas a single smoothness filter is available for the HQS and HDW series for maximum quality of projection on all focus settings.
For the framing system, the four blades equipped on Soprano’s zoom barrels are fixed within the body of the barrel itself, so that the user can never lose them. Framing distortion is at a minimum, with a projection quality equal to modern spot/profile moving heads.
Tenore and Soprano are housed within a modern and original design, with their minimalist, versatile and ergonomic bodies designed and patented in Italy.
Thanks to the upper connector panels, the fixtures are easy to hang on a truss, and a comfortable and easy-to-use jog wheel has been designed for manual control.
The brand-new, captivating design houses a state-of-the-art fixture, giving life to a line of products which is powerfully bright while low on weight. Handy, light and with small dimensions, these projectors represent the new frontier in the field of unconventional lighting.
With four different fan modes (standard, silent, ultra-silent and automatic) it is possible to have a broad control over Tenore and Soprano noise levels. High quality fans keep the air friction to a minimum, for a really silent operation, and when choosing the ultra-silent mode, brightness is only slightly reduced due to a high efficiency lumen/watts ratio of all sources. www.dts-lighting.it
Following the success of the CLUSTER LED blinders, ROXX has further expanded the CLUSTER family with the introduction of the S2, an advanced pixel mappable strobe and washlight that combines two complementary effects in one unit, designed for extremely powerful and versatile applications. Thanks to the advanced and tool-free cluster mechanism, the S2 can be combined with all products of the CLUSTER series to provide lighting designers with new creative possibilities in horizontal and vertical configurations, and is suitable for small to large venues and stadiums.
CLUSTER S2 features a large number of built-in patterns, providing users with a quick and easy way to create effects whenever a media server is not available, or the installation requires a quick solution. The CLUSTER S2 offers IP65 protection for outdoor use, as well as for indoor applications.
With the ROXX CLUSTER System and the equal spacing of the individual LED lines, continuous effects can be displayed across several units. This way, the devices can merge into one large whole in both horizontal and
vertical alignment.
The four individual thin strobe lines can also be used to display numbers, letters, and graphics. There are multiple mounting options; Camlock mounts on the top and back allow the use of omega brackets. Yokes can be mounted through the M12 attachment points on all sides, and the internal C-Lok system can also be used for a seamless connection.
Pre-link magnets on the top and sides help align the fixtures and allow ‘one-handed’ operation for secure locking. A specially designed mounting bracket is used to seamlessly connect multiple blinders and avoid gaps due to bracing of the truss structure through variable, sliding mounting positions.
ROXX also offers a wide range of magnetic, easy to apply accessory filters, including the smoked clear filter which allows the devices to visually disappear when switched off. The two elliptical filters shape the light beam either vertically or horizontally with a frost finish and offer the end user even more effect possibilities.
www.roxxlight.com
Danley Sound Labs D series amplifiers provide high-end sound reinforcement for installation and touring use. The D series amplifiers feature a powerful Class-D power stage that delivers high output power, high efficiency and low heat generation, and provides powerful processing features such as FIR filtering, dynamic EQ, and Dante networking (optional), all working alongside a unique DSP architecture including four local and four auxiliary DSP channels (also supplied to the network), meaning a single Delta DSP amplifier can control a stereo 4-way system with no external processing.
www.danleysoundlabs.com
L Class is QSC’s next generation of advanced, intelligent, active loudspeakers for applications ranging from simple, portable, plug-and-play setups, to demanding, networked, high-tech AV productions and fixed installations. L Class delivers exceptional performance and extraordinary audio experience via high-output amplification, state-of-the-art DSP, premium components, extensive system intelligence and an elegantly intuitive user interface. L Class also sets a new standard for ease of use, as users will be able to confidently configure and deploy any L Class system with unmatched speed and reliability. Onboard Dante connects L Class to networked AV systems and connected stages.
www.qsc.com
The Baracca 360 is the most recent product in Starway’s beam projector range. With a 260W laser source and 130mm lens, this luminaire provides an illumination of 159,000 lux at 20m for an aperture of 1.7° and produces an extremely present beam. Baracca 360 incorporates a CMY trichromatic color system, with a 17-colours wheel, a 19-fixed gobos wheel, two combinable prisms, and a frost. Its infinite pan/tilt movements supported by CK EFFECT technology allows for complex and original effects to be achieved in unparalleled speed.
en.star-way.com
The MZ Series range of high performance multi-zone install zone amplifiers, pre-amplifier, and wall controllers is the perfect tool for commercial systems integrators across a wide variety of applications. At the heart of the range is the ORIGIN multi-core platform. Its processor uses 56-bit floating point precision to ensure input routing, level controls and EQ settings introduce no digital artefacts and provide enhanced headroom. Configurable limiting per zone allows for mixing and matching both Hi Z and Low Z speakers, giving flexibility for multiple situations. ORIGIN’s ECO power saving allows for less than half a watt power consumption while in standby mode.
www.hhelectronics.com
Unica will have a fresh-out-of-the-box feel throughout its life, and it will be possible to integrate features and functionalities down the line, making it truly futureproof. Proving the engineering efforts undertaken in the development of this platform are 5 registered patents.
Unica cloud based amplifier platform. Unlock the power of consistency.
